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Game Level Layout from Design Specification
EUROGRAPHICS 2014 / B. Lévy and J. Kautz Volume 33 (2014), Number 2 (Guest Editors) Game Level Layout from Design Specification Chongyang Ma∗z Nicholas Vining∗ Sylvain Lefebvrey Alla Sheffer∗ ∗ University of British Columbia y ALICE/INRIA z University of Southern California Abstract The design of video game environments, or levels, aims to control gameplay by steering the player through a sequence of designer-controlled steps, while simultaneously providing a visually engaging experience. Traditionally these levels are painstakingly designed by hand, often from pre-existing building blocks, or space templates. In this paper, we propose an algorithmic approach for automatically laying out game levels from user-specified blocks. Our method allows designers to retain control of the gameplay flow via user-specified level connectivity graphs, while relieving them from the tedious task of manually assembling the building blocks into a valid, plausible layout. Our method produces sequences of diverse layouts for the same input connectivity, allowing for repeated replay of a given level within a visually different, new environment. We support complex graph connectivities and various building block shapes, and are able to compute complex layouts in seconds. The two key components of our algorithm are the use of configuration spaces defining feasible relative positions of building blocks within a layout and a graph-decomposition based layout strategy that leverages graph connectivity to speed up convergence and avoid local minima. Together these two tools quickly steer the solution toward feasible layouts. We demonstrate our method on a variety of real-life inputs, and generate appealing layouts conforming to user specifications. Categories and Subject Descriptors (according to ACM CCS): I.3.5 [Computer Graphics]: Computational Geometry and Object Modeling—Curve, surface, solid, and object representations 1. -
Textile & Fashion Careers Level 2
Textile & Fashion Careers Level 2 Apparel Construction Demonstrate measurement skills, standard and metric. Select patterns. Follow written pattern directions. Demonstrate pattern layout and material cutout. Demonstrate pattern making. Operate machines, equipment and attachments in a safe and efficient manner. Use tools for construction, alteration and repairs. Demonstrate basic construction and alteration skills and techniques. Computer Technology in Textile/Fashion Industry Set up Computer Aided Design (CAD) tables. Grade and digitize patterns. Create models. Design and plot markers. Produce embroidery motif. Interior Design Research and use information to assess product needs. Determine solutions to design problems. Select fabric, considering patterns and textures, for visual effect. Demonstrate basic construction skills needed in product development. Demonstrate basic installation of window treatments. Apply basic techniques to strip and rebuild furniture. Use standard methods of upholstery for furniture and automobiles. Design and construct slipcover products. Fashion Merchandising and Retail Describe the dynamics of the fashion industry. Explain economic concepts. Explain apparel production, business strategy, sales and distribution. Analyze retail business fundamentals. Compare strategies for retail success. Evaluate principles and methods of advertising. Analyze the global perspectives of the textile/fashion industry. Entrepreneurial Skills Describe types of small business. Analyze components of success in business. Evaluate methods for meeting customer needs. Evaluate regulations and laws related to self-employment. Utilize handcraft and entrepreneurial skills to meet business objectives. PERSONAL QUALITIES Work Effort Safety Habits Work Area Organization On Task Behavior Responsibility Initiative Team Work Respect Interpersonal Skills . -
Industrial Designers Society of America (IDSA) Fact Sheet The
Industrial Designers Society of America (IDSA) Fact Sheet . The Industrial Designers Society of America began in 1965 out of the merger of several organizations to include American Designers Institute (ADI), Industrial Designers Institute (IDI), Industrial Designers Education Association (IDEA), Society of Industrial Designers (SID) and American Society of Industrial Designers (ASID). IDSA’s core purpose is to advance the profession of industrial design through education, information, community and advocacy. IDSA creates value by . Publishing Innovation, a quarterly professional journal of industrial design practice and education in America . Developing and organizing a joint national conference and education symposium each year, which brings together industrial designers, educators, business executives and students from all over the world . Hosting five district conferences annually where design practitioners, educators and students gather to consider the state of the profession . Creating and conducting the annual International Design Excellence Awards® (IDEA) and distributing information on the winners to the business, general, international and US design media . Hosting a website to communicate with the industrial design community, to keep members informed and to provide a place for unique content and dialogue to share . Distributing designBytes email that highlights the latest news and trends in the design world . Providing statistical research studies on professional practice, and the structure and financing of consulting and corporate design organizations . Advocating for the industrial design community to federal agencies and state governments . Serving as the primary information resource on design for national newspapers, magazines and television networks . Acting as a clearinghouse for design information requested by the general public . To serve the interests and activities of its members, IDSA formed 16 special interest sections . -
What Is Architecture + Interior Design? Designer Spotlight
Is architecture + design for you? Do You Want Design is the marriage of science and art. You What is Designer to Be an get a healthy balance of creativity + analytical problem-solving in this industry. If you can architecture + Spotlight: Architect or answer yes to most or all of these questions, architecture + design might be the path for you! interior design? an Interior • Do you like art or drawing? • Do you like math? The Royal Architectural Institute of Canada Designer? • Could you spend the day working on puzzles? defines the practice ofarchitecture as: • Do you like problem-solving or finding multiple solutions to a “The practice of architecture consists of the problem? I think our work is very diplomatic in that sense provision of professional services in connection • Are you fascinated by colors + materials? because we have to work within a web of w/ town planning as well as the design, • Are you detail-oriented? players – users, architects, technical people, construction, enlargement, conservation, maintenance staff – and we have to navigate • Do you enjoy hands-on activities? restoration, or alteration of a building or group of them somehow. buildings.” - Petra Blaisse Student Context is so important, not to mimic but to Today: Learn about become part of the place. I wanted a building architecture + interior design that acknowledges its surroundings. career paths - Sir David Adjaye Apply to architecture/design programs Source: Inside Out | Seattle Public Library Successfully graduate with your bachelor’s and/or CIDQ definesinterior design as: I don’t think that architecture is only about master’s degree! shelter, is only about a very simple enclosure. -
Developing an Arabic Typography Course for Visual Communication Design
Developing an Arabic Typography course for Visual Communication Design Students in the Middle East and North African Region A thesis submitted to the School of Visual Communication Design, College of Communication and Information of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Basma Almusallam May, 2014 Thesis written by Basma Almusallam B.F.A, Kuwait University, 2008 M.F.A, Kent State University, 2014 Approved by ___________________________ Jillian Coorey, M.F.A., Advisor ___________________________ AnnMarie LeBlanc, M.F.A., Director, School of Visual Communication Design ___________________________ Stanley T. Wearden, Ph.D., Dean, College of Communication and Information Table of Contents TABLE OF CONTENTS………………………………………………………………...... iii LIST OF FIGURES……………………………………………………………………….. v PREFACE………………………………………………………………………………..... vi CHAPTER I. INTRODUCTION…………………………………………………………. 1 The Current Issue………………………………………………….. 1 Core Objectives……………………………………………………. 3 II. THE HISTORY OF THE ARABIC WRITING SYSTEM, CALLIGRAPHY AND TYPOGRAPHY………………………………………....………….. 4 The Arabic Writing System……………………………………….. 4 Arabic Calligraphy………………………………………………… 5 The Undocumented Art of Arabic Calligraphy……………….…… 6 The Shift Towards Typography and the Digital Era………………. 7 The Pressing Issue of the Present………………………………….. 8 A NOTE ON THE PROCESS…………………………………………………………….. 10 Applying a Framework for Research Documentation…………….. 11 Mental Model……………………………………………………… 12 Proposed User Testing……………………………………………. -
Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte
Voices of Music An Evening with Bach An Evening with Bach 1. Air on a G string (BWV 1069) Johann Sebastian Bach (1685–1750) 2. Schlummert ein (BWV 82) Susanne Rydén, soprano 3. Badinerie (BWV 1067) Dan Laurin, voice flute 4. Ich folge dir gleichfalls (St. John Passion BWV 245) Susanne Rydén, soprano; Louise Carslake, baroque flute 5. Giga (BWV 1004) Dan Laurin, recorder 6. Schafe können sicher weiden (BWV 208) Susanne Rydén, soprano 7. Prelude in C minor (BWV 871) Hanneke van Proosdij, harpsichord 8. Schlafe mein Liebster (BWV 213) Susanne Rydén, soprano 9. Prelude in G major (BWV 1007) David Tayler, theorbo 10. Es ist vollbracht (St. John Passion BWV 245) Jennifer Lane, alto; William Skeen, viola da gamba 11. Sarabanda (BWV 1004) Elizabeth Blumenstock, baroque violin 12. Kein Arzt ist außer dir zu finden (BWV 103) Jennifer Lane, alto; Hanneke van Proosdij, sixth flute 13. Prelude in E flat major (BWV 998) Hanneke van Proosdij, lautenwerk 14. Bist du bei mir (BWV 508) Susanne Rydén, soprano 15. Passacaglia Mein Freund ist mein J.C. Bach (1642–1703) Susanne Rydén, soprano; Elizabeth Blumenstock, baroque violin Notes The Great Collectors During the 1980s, both Classical & Early Music recordings underwent a profound change due to the advent of the Compact Disc as well as the arrival of larger stores specializing in music. One of the casualties of this change was the recital recording, in which an artist or ensemble would present an interesting arrangement of musical pieces that followed a certain theme or style—much like a live concert. Although recital recordings were of course made, and are perhaps making a comeback, most recordings featured a single composer and were sold in alphabetized bins: B for Bach; V for Vivaldi. -
Communication Design: Principles, Methods, and Practice
Communications Title Pages 8/3/04 1:11 PM Page 1 Communication Design CommDesign 00 a 09/03/04 1:47 PM Page ii Communications Title Pages 8/3/04 1:11 PM Page 2 Communication Design Principles, Methods, a ND PRACTICE Jorge Frascara ALLWORTH PRESS NEW YORK CommDesign 00 a 09/03/04 1:47 PM Page iv © 2004 Jorge Frascara All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. 08 07 06 05 04 5 4 3 2 1 Published by Allworth Press An imprint of Allworth Communications, Inc. 10 East 23rd Street, New York, NY 10010 Cover design by Derek Bacchus Page design, composition, and typography by Sharp Des!gns, Lansing, MI library of congress cataloging-in-publication data Frascara, Jorge. Communication design : principles, methods, and practice / Jorge Frascara. p. cm. ISBN: 1-58115-365-1 Includes bibliographical references and index. 1. Commercial art. 2. Graphic arts. 3. Visual communication. I. Title. NC997.F695 2004 741.6—dc22 2004018346 Printed in Canada CommDesign 00 a 09/03/04 1:47 PM Page v To my wife, Guillermina Noël CommDesign 00 a 09/03/04 1:47 PM Page vi CommDesign 00 a 09/03/04 1:47 PM Page vii Contents xi Acknowledgments xiii Introduction 1 1 | A Description of the Field 3 Design and Communication 3 The Designer and Other Professionals 4 “Graphic -
Design Charrette
CHARDON TOMORROWUPTOWN Design Charrette i Prepared for: Chardon Tomorrow P.O. Box 1068 Chardon, OH 44024 Ph: 440.273.3077 Email: [email protected] By: Kent State University’s Cleveland Urban Design Collaborative 1309 Euclid Avenue, Suite 200 Cleveland,OH 44106 Ph: 216.357.3434 Email: [email protected] CHARDON TOMORROWUPTOWN Design Charrette TABLE OF CONTENTS EXECUTIVE SUMMARY 01 INTRODUCTION 03 Chardon Tomorrow Previous Initiatives UPTOWN DESIGN CHARRETTE 07 Goals Breakout Session # 1 - Development Breakout Session # 2 - Town Square Breakout Session # 3 - Access & Connectivity IDEAS 15 Small Business Incubator Institutional Anchor Design Guidelines Mixed Use Development Pedestrian-ize Short Court Street Enhance Streetscape Create Child Friendly Park Enhance Courthouse Create Shared Parking Create Safe, Pedestrian Circulators Divert Truck Traffic Bike-friendly Signage and Amenities CASE STUDIES 27 Culpeper, Virginia Kentwood, Michigan Bath, Maine NEXT STEPS 31 EXECUTIVE SUMMARY For the past few years, Chardon Tomorrow has been There were concurrent ideas for these topics developed Development: engaged in visioning and planning exercises to help in each of the three groups. For instance, each group Small Business Incubator create a road map for Chardon’s future. These initiatives suggested that Short Court Street be converted to a Institutional Anchor are aimed at preserving and fostering Chardon’s unique pedestrian and bike-friendly walkway. Another idea with sense of place while achieving economic prosperity broad support is the creation of shared parking spaces Design Guidelines and quality of life. As a next step in their efforts to build on each side of the Square so that patrons can park once Mixed Use Development momentum and engage key stakeholders in this process, and walk easily to various businesses on the Square. -
Practical Impacts of Design-Build on the Design Engineer
Practical Impacts of Design-Build on the Design Engineer Presented by: Joseph C. Staak, Esq. Smith, Currie & Hancock LLP 2700 Marquis One Tower 245 Peachtree Center Avenue, NE Atlanta, GA 30303-1227 Tel: 404.582.8026 [email protected] www.smithcurrie.com November 2012 NOTES Practical Impacts of Design-Build on the Design Engineer I. INTRODUCTION Project delivery using Design-build has become increasingly popular over the last thirty years. Owners have recognized the advantages of using a single source of responsibility for a project’s design and construction. Many contractors have recognized the popularity of design-build and have made adjustments to their business model allowing them to offer this one-stop system for project delivery. Architects and engineers also recognize that, unless they want to avoid this ever growing segment of the project design market, they too must adapt to working directly with the contractor. Nearly half of all commercial construction in the United States is being awarded using design-build as the project delivery vehicle, and the reasons are obvious. Owners perceive multiple advantages in using design-build. These advantages include, but are not limited to, a single source of responsibility for design and construction, the increased risk design-build transfers to the design- builder, the opportunity to fast track design and construction to reduce the time from concept to completion, and the owner’s ability to take advantage of the design-builder’s expertise in identifying design solutions. Changes in public procurement during the last 20 years have precipitated an explosion in the use of design-build by government agencies. -
PRESS KIT Typecon2019: Nice MINNEAPOLIS, MN August 28–September 1, 2019 Typecon2019 MINNEAPOLIS, MN the CONFERENCE August 28–Sept 1
PRESS KIT TypeCon2019: Nice MINNEAPOLIS, MN August 28–September 1, 2019 TypeCon2019 MINNEAPOLIS, MN THE CONFERENCE August 28–Sept 1 50 WORDS Founded 21 years ago, TypeCon is the nation’s premier typography and lettering arts conference. Hundreds of attendees convene each year for an immersive five day program of inspiring presentations, workshops, and events. At TypeCon, both professionals and educators can learn, grow, and network in the company of like-minded enthusiasts. 120 WORDS Founded 21 years ago, TypeCon is the nation’s premier typography and lettering arts conference. Hundreds of attendees from around the world convene each year for an immersive five day program centered around typography, lettering, and design. TypeCon is best-known for its educational presentations, all of which are submitted via open-call, “by the community, for the community.” Recent speakers and workshop leaders have included Tobias Frere-Jones, Lance Wyman, Gemma O’Brien, Underware, Jessica Hische, Matthew Carter, and Louise Fili. TypeCon oers a unique opportunity for both professionals and educators to learn, study, network, and further their knowledge in the company of like-minded enthusiasts. TypeCon2019: “Nice” will take place August 28th–September 1st, at the Hilton Minneapolis in downtown Minneapolis, Minnesota. FULL Founded 21 years ago by The Society of Typographic Aficionados (SOTA), TypeCon is the nation’s premier typographic and lettering arts conference. Hundreds of attendees from around the world convene each year for an immersive five day program centered around typography, lettering, and design. The conference takes place in a dierent city each year and is dedicated to promoting and disseminating knowledge of both historical and contemporary typography. -
Level Design Histories and Futures”
Level Design in a Day: “Level Design Histories and Futures” Robert Yang @radiatoryang About this talk ● Concepts and language to help you be critical about “level design” ● Not about “how to do level design” ● Heavy bias toward 3D character-based games (like everyone else) (The PERFECT level designer?) (one can dream...) Four (4) possible dimensions of contemporary level design ● as a material, as data ● as industrial process ● as architectural space ● as community politics 1:1: LevelLevel designdesign asas MATERIALS,MATERIALS, CONSTRUCTION,CONSTRUCTION, andand DATADATA “LEVEL” = a bunch of data (asset) that references a bunch of other data (other assets) “LEVEL EDITOR” = software that enables human visualization and modification of this data LEVEL EDITOR HISTORY: text editor as level editor LEVEL EDITOR HISTORY: studying tool interfaces / workflow LEVEL EDITOR HISTORY: one 2D floorplan pane AutoCAD (1982) DoomEd (~1992?) LEVEL EDITOR HISTORY: the asset browser Hammer (2004) Hammer (2006?) LEVEL EDITOR HISTORY: 3 pane, 3D preview + floorplan + elevation QuakeEd (1996) (great ancestor of “Radiant” level editors) LEVEL EDITOR HISTORY: mouse-look / WASD more emphasis on 3D camera view, more emphasis on “wandering” as workflow LEVEL EDITOR HISTORY: 4 pane, 3D preview + 2D ortho views 3D Studio (1990) Worldcraft (Hammer) (1996-2012?) Unreal Dev Kit (UE3, 2009) LEVEL EDITOR HISTORY: (from left to right:) - Unity one big interactive 3D view - Unreal 4 - SketchUp to rule them all and in the darkness bind them - Trenchbroom (Quake 1) - CryEngine3 -
Resident Sound Designer Job
Resident Sound Designer Job The Opportunity Laguna Playhouse, a professional LORT theatre company located steps away from the Pacific Ocean in the charming arts colony in Laguna Beach, California, seeks an experienced Resident Sound Designer. This employee will report directly to the Production Manager. Applicants should have Sound Design, Sound Engineering, and Sound Operator experience along with a comfort working in a fast-paced environment. This is a full time staff position. Responsibilities • Design, supervise, and execute the implementation of Laguna Playhouse Mainstage and Youth Theatre sound designs. • Act as Sound Engineer and Front of House Mixer for all Laguna Playhouse Productions. The Laguna Playhouse incorporates the “line by line” mixing style of many Broadway musicals. • Collaborate with electrics, wardrobe, and running crew. • Serve as Master Sound Engineer for all external and internal rental events. • Event related responsibilities: o Install speaker systems o Prepare consoles o Maintain and upkeep equipment o Troubleshoot and repair audio equipment o Prepare orchestra “pit” as needed o Install and troubleshoot closed circuit video and intercom systems as needed Required Skills and Experience • BFA in Audio/Sound design or equivalent experience required. • Minimum 2 years educational/professional theatre experience in sound design/audio department. • High level supervisory experience and ability to lead a crew. • Working knowledge of Yamaha line of audio consoles. • Working knowledge of QLab. • Ability to troubleshoot, repair and maintain all audio equipment including wireless mics, recording equipment and speaker systems. • Experience with “line by line” mixing style. • Excellent organizational and communication skills with the abilities to work well under pressure, make decisions, and represent the organization well.