#both similar but different in tone and purpose and therefore harmonious

[illithilit]

Bhaal became the god of murder, as we know, and Yzare is the metaphorical rib from beneath his breast. But she isn't contented with just being his greatest creation, his plaything to be used when and how he pleases; she wants her own power, her own glory. She wants to swallow him whole, consume his essence, erase him from the minds of anyone who ever knew him. He is murder. But she is death, more pure than he was. She is the fear when you hear the howling of wolves alone in the forest at night. The panic you feel when you realize the food you just ate was poisoned. The inevitable creeping of the cold shadow behind you that neither cares for you, nor heads your pleas.

Kelemvor is the inevitable peace and calm of death, but Yzare is the inevitable hunt death takes up upon your heel. She will never surpass him without his destruction, but oddly.... She feels a sort of cosmic peace about that knowledge; he is the one death who she will allow herself to be lesser than.

[storytimefromthecreed]

Canon Crimes

“I’m not saying you’re only agreeing with him because he's your favorite, but..." Haytham frowned, but kept the respect in his voice. He was, after all, speaking to his father.

"Grandfather is still upset." Connor grinned at his father, sparing him no expense, clearly enjoying the attention Edward gave him.

Haytham groaned, "Gah, this again? Dad! You've got to forgive me for that."

Edward crossed his arms and shook his head. "You tried killing your own son, Haytham."

"To be fair, he tried killing me also."

Connor rolled his eyes, and Haytham made a move to him but was intervened by Edward who gave him a swift thump on the back of the head. "And have I ever tried killing you? No!" Connor snickered while Haytham rubbed the spot of contact and received a thump from Edward too, resulting in Haytham's smile. He was, after all, his son, Edward thought, best to let him know he was loved too.

Now, both silent, Edward said, "Decide what you'd like us all to do tonight, together, or I'm going to choose, and you can’t be upset if that includes us rewatching the Muppet Frog Prince."

"Grandpa."

"Dad."

Both Kenways groaned in unison and rolled their eyes to the ceiling. Edward couldn't help but smile at how similar they were. The pair began sprouting ideas, so Edward left them and went to relax on the backyard porch with the rest of the Assassins. Shay and Arno were sparring against Alexios and Kassandra; Altair, Malik, Evie, Ezio, Henry, Elise, Yusuf, Jacob, and Liam watched. Jacob pulled up a seat beside him, and Edward sat. Malik passed the plate of sandwiches toward him, but he put a hand up to decline.

"Don't want to ruin my appetite in case they decide we're going to dinner." He explained, and Elise swiped the plate.

"Must be nice to have both your boys with you." She took a bite, munching. "How's it been?"

Honestly, it had been wonderful! When he wasn't spending time with Haytham, he was with Connor. There was some tension between the two which made days like today, where Edward wanted all three of them spend time together, difficult to manage and painful emotionally; but, he was hopeful that they would work through it. Plainly, this was seen on his face, because the corners of Elise's smile pulled down to a frown.

Still, Edward couldn't fix his face, so Altair cleared his throat and said, "Relationships between Templars and Assassins have always been rocky, no matter who they are, but people can work around it, Edward, trust your boys."

As if on cue, Connor stormed out, Haytham right behind him, and he, upon seeing the eyes watching him, relaxed his tense frame and directed his displeasure Edward’s way. “I am sorry, Grandfather, but we can not seem to come to an agreement. Looks like the choice is yours.” 

Before Edward could speak, Malik interjected, “Altair is the reason my brother died.” Altair choked on his tea, and Yusuf began feverishly patting him on the back. Malik, undisturbed, continued and raised his left arm. “Oh, and why I lost this, isn't that right, Altair?” 

“Yea.” Altair croaked, having not recovered from his fit.

Malik continued, looking sternly between Connor and Haytham. “But he was a different man when he did so, and upon realizing his mistake, Altair worked tirelessly to become a better person. When he apologized for the wrongs, I couldn’t forgive him. The man apologizing was not the man who’d done the deeds, therefore, for me, he did not have to. Would Kadar have died another way or any time soon? Would I have my arm? Who’s to say. What’s done is done. I’m still a capable fighter, I’ve my health, and if history hadn’t taken that course, the Brotherhood would not be what it is today. Guess you could say, that’s why I’m his right hand man.”

Altair’s eyes were watery and his cheeks tinged red when he responded with a raspy voice. “We’ve all done things that we’re not proud of at a time when we didn’t know better. That’s the part of growing, and I’m thankful I’m surrounded by friends just a wise, if not more so, than I.”

Elise said, "If it's any consolation, my being a Templar has proved difficult in my and Arno's relationship, but we work through it by respecting one another and understanding that our Orders require different things from us, and balance them accordingly."

"Even Assassin and Assassin ties can be hard." Liam added, pointing to Shay. "Chased my best friend off a mountain after he’d tried to do nothing more that warn us of our mistakes, didn’t even know why, just that it was asked of me, and pushed him towards the Templar Order. Not that he minds it. He found what he was looking for in the Order, he’s happy, and he found people who listen and respect him. I’m happy for him.”

Shay, wiping the sweat from his brow as he and a defeated Arno rejoined the group with celebratory siblings, Kassandra and Alexios, nodded. "Took years for us to get our bearings. Those years were needed because they determined who we are today, and our friendship is stronger than ever for it."

"Things have to happen for better things to come." Arno added, smiling at Elise. "If my father hadn’t died, would I be Arno you see today? Would I have grown up through the Assassin ranks? Have the hate for Templars branded into my skull? Or would I have found another way? Anyway, I never would've met Elise and my life wouldn't be a thousand times brighter."

"Mon amour." Elise turned bright pink, her grin expanding her whole face. Pulling his face down for a kiss, she chuckled. "This guy. Truly, Arno’s been the best. Helping me find the people that killed my father after he was framed for it, and taking control of the Templar Order so that none could spark fire between the Templars and Assassins as they’d been doing."

"Hey," Shay said to Arno, “I am sorry for that.”

Arno, one hand on Elise, put his other hand on Shay’s shoulder with a kind smile. “You did, and I forgave you. What’s in the past, and all.” The friends smiled at one another, and Edward’s hope returned. Maybe Connor and Haytham could work past their differences.

“Kassandra tried to kill me.” Alexios gave his sister a knowing look that she responded to with a rolling of her eyes. “Multiple times, I might add.”

“I was young, Alexios.” Her tone was annoyed, but Kassandra grinned. “I was raised by some not so nice people. We all can’t have grown up on an island.”

Alexios looked at Connor. “Trust me, family are the most frustrating people to be around, but,” he threw an arm around Kassandra’s neck, messing her hair with his fist, and she fought against him easily. “But they’re family.”

“Guess I was lucky to have a sibling who wouldn’t give up on me, just as he is lucky I wouldn’t give up on him.” She stuck out an arm, and playfully struck his shoulder.

Alexios rubbed the spot and see offered peace with a sandwich. He accepted. “You wouldn’t give up on me, would you, Evie?” Jacob asked from across the table to Evie who sat with her head on Henry’s shoulder.

“The thought of leaving you to your own devices has crossed my mind.” Jacob glared, and she laughed. “I’m kidding, you’ve always been capable when left to your own devices. Well, except that whole Jack incident.”

“For that, I thank you kindly, sister.” Jacob twirled his hat impishly then placed it back atop his head with a smirk. “All laughs considering I never got a thank you after the train incident.” He wiggled his brows devilishly, and Evie shot up.

“You shut your mouth.”

“Say it.” 

She rolled her eyes and tossed a napkin at his face. “Thanks, BROTHER.” 

“What train incident?” Henry asked when her head returned to his shoulder and she groaned, covering her face in embarrassment.

“Tell ya later, Greenie.” Jacob winked.

“Maria was a Templar, still would be if they hadn’t have abandoned her after they failed to claim the Holy Land. I knew I loved her from the moment I fought her, but I’m not sure love was the first thing on her mind.” Altair looked up to the heavens, lost in thought.

“You fought your wife?” Connor rose a brow. 

Altair, pulled from his memories, a ghost of a smile on his lips, explained. “Didn’t know she was going to be my wife until after, but yes, that’s how Maria and I first met. The relationship between Assassin and Templar is vast and complicated, spreading across eras and families, intricately weaving us all as one.”

“Makes one think there might be a world where we could live together, in harmony.” Haytham spoke so low, it sounded as if he was speaking to himself.

“Yes,” Altair said, “maybe it’s time that we do. That we find this better way. This harmony.”

“Like my forgiving Haytham for trying to kill me with Shay.” Adewale, who’d slipped into the conversation from the backyard door, stood behind Haytham and made him jump. “Sorry, door was open and no one was inside, figured you’d all be here. Hey, Shay. How are you? You never checked out my ship like you said you would.” Various greetings were given him, but Adewale was watching Shay. 

“Adewale, how good to see you!” Shay left Arno’s side and gave the Assassin a handshake that turned into a hug. “If your ship is here, I’d love to see it.”

“Of course.” Adewale dug into his pocket. “Have to return these to Edward.” He withdrew a set of keys and tossed them towards Edward, who caught them mid-air swiftly.

“Ade!” Edward had left the table and embraced his friend. “It’s good seeing you! Hope the car served it’s purpose. When are we sailing?”

“Considering you keep flaking, why don’t you tell me? Better yet, why don’t you accompany Shay and I today? It’ll be nice to be among like-minded men.” Adewale grinned, but Edward frowned. Only for a moment. He gave his friend a small smile and said, “I’ve got plans tonight with my boys, maybe another time.”

Haytham cleared his throat, keeping his eyes away from Adewale and on Edward. “Father, since Connor and I are unable to meet in the middle for our plans, maybe it would be best you go.”

“I agree.” Connor said. 

Both gave him just a serious look with kind eyes, that Edward felt pride in that moment. Turning to Adewale, Edward wiggling his brows. “It looks like my plans have changed.”

“Always room for one more. Now you get to be be my quartermaster.” The trio bid their farewells, and Haytham stood beside Connor.

“You tried to kill your father’s best friend?” Connor asked, a brow raised.

“Thank god he didn’t take notice of that.” Both Kenways chuckled, then Haytham gave Connor a queer look, attempting to appear not stern. “Son, how about you join your mother and for dinner tonight?” Connor’s mouth was set in a tight line. “Tell me all about how I won’t let you kill Lee and maybe your mother and you could murder me for dessert?”

Connor’s stony demeanor cracked, and he shook his head, giving his father a smile. His first smile. “Fine, but you’re going to have to share that story of when the Templars tried to have me hanged.” 

“Goodnight everyone. Thank you for your kind words.” Haytham waved behind him.

“See you all tomorrow.” 

They headed back the way they’d come, leaving the rest of the Assassins to decide who was sparring next. The last they heard was Haytham saying, “I saved you from that! Doesn’t that count for anything?”

A pause. Then, “Yes, Father, is does.”

Ezio leaned back in his chair. “Love happy endings.”

“I second that.” Yusuf hummed, and Ezio squinted his eyes.

“On the subject of crimes against one another,” Ezio pointed to Yusuf. “Stop dating my sister?”

“Next spar between Ezio and Yusuf.” Jacob cheered, and the two men rose from their seats and headed to the circle.

“I’m dating her either way, you know that right?” Yusuf rolled his shoulders.

Ezio assumed his stance. “Yea, but this will make me feel better.”

[maramalene]

Notes on Pagter’s workshop and talk

Being part of the four-person workshop with Søren Pagter was educational and inspiring, as was listening to his two-hour talk a few days earlier at the Danish Egyptian Dialogue Institue, arranged as part of Cairo Photo Week. 

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Through his approach of giving feedback on our images, Pagter inspired me to be ambitious in my selection process. In fact, I felt inspired towards a certain mercilessness, with regards to what images make it to the final project and which to discard along the way. Instead of holding on too tight do your darlings, your project develops into a stronger piece the more darlings you kill along the way. When you discard a mediocre image, you pave the way for creating a new, stronger image to take its place; through this process of creating and discarding, recreating and refining, you will transform the entire project into something stronger. 

For example, Pagter said about a couple of images (the veil images) that he liked them very much but that they could become even better. He asked me to consider more carefully where I locate images, and what kind of setting details I include and exclude. Some images are suitable for adding details about the surrounding environment but in the case of the veil images, the veil’s fabric/texture, its expression and movements, are so delicate that this delicacy are easily “swallowed up” whenever too much else is happening in the image. He asked me to re-shoot the veil images on a simpler background. “Your photographs will be staged anyway, so you should attend more carefully to where and how to stage them.” 

-

Both at his talk and in the workshop, he emphasized the importance of a ‘project frame’. A project needs to have a frame that outlines the project’s main idea/concept or purpose. This frame needs to be rather stringent and specific, and so from there, you can begin develop its “branches.” 

At his talk, he showcased brilliant student works from DMJX’s photojournalism school. One of them were made collaboratively by two Danish students - their frame was simple: they wanted to travel along the Danish coastline and document its human life there. When having decided on this basic idea, their branches developed by whatever they would come across at the coastlines - a young girls’ soccer team that would ran into the water when they won a game; a Prostestantic Christian mass held by the shore; a wedding photography shoot in the water; a friend’s group of retired elders that would swim in the ocean in the Winter season each Saturday.

Pagter said my images were beautiful and my project interesting. He said that watching the images felt like entering my room, and being part of an intimate space. He asked me to focus on me and my relations with other people. Not other person’s relations to each other. Therefore, if I want to include other figures in my project, it needs to be my looking at them, instead of trying to (re)present or (re)construct their (imagined) “point of view.”

As mentioned, Pagter inspired me to choose and discard my images carefully and ambitiously. Most of the images that he discarded (or, suggested that I discard) were on grounds of them wandering too far away from what he considered to the be “frame” of my project. For example, he discarded an image that seemed like a different style, different color, a different “feel”: most of my (good) pictures, according to him, are kind of “quiet”, intimate (in cool blue and purple tones or warm deep red), whereas this one was more “assertive” and “roaring”. He discarded another that were in an elevator, not in my room, and thus seemed to fall too much outside of the intimate setting of “my home”. 

-

Pagter also reflected on the importance of presentation and sequence. Sometimes, when a photojournalistic project is “documentatve”, and e.g. working as a testimony to a certain issue or as a glimpse into a life of a particular place, environment or setting, you may want to order your images in a sequence that builds a particular narrative: “here we arrive at the orphanage”, “here we walk into its welcome hall”, “here we have a first encounter with some of its children”, “here we see them have lunch”, “here they shower”, “here they are going to sleep” etc. 

In other instances, as my project, you do not have any particular narrative to build that can guide your sequence. Instead, it must be principles such as color, shapes, and “feel” that guide how you decide to put the parts together, how you create balance and harmony, and how you make it into a coherent whole. For my current selection of images, he suggested the sequence below (after having discarded a bunch), while providing comments on his decision. Hearing his thought process on this was 

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Pagter mentioned that whenever he either develops a project himself or provide feedback on another’s, he likes to have one single image that should kind of “guide” all the other images to come. This central image, ideally, should visually emotionally represent the “heart” of the project, and encapsulate all the others, perhaps in a much similar way that “the frame” conceptually provides “a heart” for the project. 

- 

Overall, meeting Pagter was inspiring, and being invited to and part of the four-person’s workshop felt exclusive and intimate. Receiving direct feedback on my  project by a person with talent and decades of experience in the field was truly something else, something I’ve never had the opportunity to before. Listening in on his reflections and feedback, both on my own and other’s images, were educational, in how it illustrated a skilled person’s line of reasoning, logic, and attentivenessss. It exemplified some of those specific things that you should (or could) attend to when experiencing and evaluating photography; and also, points to what to attend to when you yourself have to make careful and critical considerations, and choices, about your own work in progress. 

This experience feels like a significant inspiration in the process of cultivating my own approach to and sense of photograpy into a creative craft in visual art and storytelling. 

-

Hearing Pagter say “When I look at your images, what I see is basically a project about you - and that is okay!” - that meant something to me. He didn’t disregard it as overly selfinvolved and irrelevant, boring, to others. My project has been “identity confused” in terms of how photojournalistically documentarian and “realist” it should be; how turned towards the outer world I should make it, while my own positon/point of view is made invisible or neutral. Not only did Pagter SEE my work in progress for what it is: It is an intimate universe that is personal and mine alone. He also encouraged me to work along these already existing lines, explore this universerse, and to further develop this particular “feel” of “a girl in her room” - with her intimate relations and interactions, the quietness, the introspective, subjective and reflective, and the vulnerability. It felt as if he gave me a much needed assurance (that I didn’t realize I needed): What I most want to do, and what I always end up “leaning towards”, is: Okay! And can in fact, potentially, develop into something intriguing and brilliant to others too. 

[vivisdoingthings]

Unit D9 Update - Interlude 1 (Song 6) + Unit D8 Skills Development (Production)

Recently, along with my further thoughts about making the project more experimental, I have decided that I am going to extend the EP into an album, aiming for around 30 minutes of material. Initially, the project started out with the intention of being a collection of songs, but I have realised that I want to make it more conceptual, with a specific intention of it being listened to in order and judged as one whole, cohesive piece. To aid this vision, I am going to add some interludes. This will be short tracks, recorded in a lower fidelity to keep the listening experience diverse. They will also act somewhat as palate cleansers, to help adjust the listener to certain changes in mood and style between tracks. 

A few nights ago, I wrote the first interlude when improvising on my nylon string guitar. First, I tried recording it in my bathroom at home, as the acoustics are really good, with a lot of natural reverb. This was what made me realise that the interludes should be in a lower fidelity, recorded with different recording equipment, as here, the natural reverb of the room really aided the sound, so that even when it was recorded on a phone, it still sounded good.  However, I wasn’t quite satisfied with how it sounded on my phone. I thought that I need to aim for a middle ground between this sound and a studio recording. There were two elements that I would keep the same but change the specific components of them. First, I would use a room with natural reverb but not my bathroom. Instead, I would use a stairwell at college, which was even bigger, meaning even more natural reverb. Secondly, I would use a different recording device. I chose a portable audio recorder, as it was made for the purpose of making quick, easy recordings (like field recordings or demos) that would still sound good. 

Once I had recorded the interlude at college, I transferred it from the portable recorder to a computer and began producing it in ProTools. I added an EQ insert and brought up the bass and mid frequencies in the recording, to make it sound more full, as originally I felt it was missing some low end. I then added some more reverb, to emphasise the desired effect I was aiming for with the natural reverb of the stairwell. Mixing this song was an interesting challenge as I was working with only one track for both the guitar and vocals. 

When I was experimenting with inserts and effects, I spontaneously added a pitch shift effect, which I previously had no intention of using. However, I loved the sound it produced: eerie, discordant and “wrong”, yet still somehow beautiful in its own unique way. I then raised the pitch even more, until I achieved my desired sound. However, I only liked this sound during the instrumental sections of the song, rather than the parts with my vocals, which now sounded like chipmunks. Therefore, I decided that this effect fade in during the instrumental breaks, and then fade out again. Unfortunately, I thought the jump from the original pitch to the altered one during the instrumental sections sounded too drastic, so I decided that I would duplicate the audio track, keeping one of them at the original pitch, and then another at the new pitch, playing at the same time. As well as helping with the transition, these two sounds worked great together, creating a really discordant, juxtaposing harmony. I was really happy with how this transition sounded, as it is quite a jarring switch-up, but I believe that it still works. 

For the second and final instrumental section, I repeated the same effect. As this song is an interlude, I wanted it to prepare the listener for the next song in the track list, which I intend to be more experimental. Therefore, I wanted the ending to be more abrupt and unexpected, so that the listener does not expect the next song to be of a similar tone and feel. I decided that at the end of the instrumental break, I would bring in some distorted noise, which was a duplication of the instrumental track but with a lot of delay on it. Using automation on ProTools, I faded the noise in and at the end of the track I immediately faded it out of again. Unlike the Intro track, I purposely chose for the noise to last a short amount of time, conscious of the fact that this track was intended to be short and sweet.

[madamlaydebug]

Emotionally Intense New Moon On June 13th, there will be an extremely powerful and potent new supermoon in Gemini, bringing with it an energetic emotional storm that is set to stay for the next two months. The reason for this is that this supermoon is the first in a series of three new moon supermoons, with the the second on July 13th—and the third, which will be the completion of this intense energy portal, taking place on August 11th, 2018. Cosmically, everything happens in sequences, and we have just stepped into one of these sequences—known as a supermoon triad, which happens when there are three supermoons in a row. Unlike regular new moons—in which the energy lasts for a few days—the highly charged, intense, life-altering energy of this trio will be felt consistently throughout this two-month period. Those who are highly sensitive to energy will have been sensing the intensity in the atmosphere since the beginning of June and feeling the highly charged energy developing—because although there have been high and low periods, generally the intensity has remained at a peak. A supermoon occurs when the moon’s orbit is closest to the earth, resulting in the moon being approximately 14 percent closer than normal. The moon is known to wreak havoc with Mother Nature, resulting in landslides, higher tides, and earthquakes. When we think about how the moon’s gravity affects the tides, it is easy to see how it also interacts with living creatures. All zodiac signs will be affected by this lunar energy, but in particular those born with Gemini in their chart will feel impacted. Gemini is ruled by the planet Mercury; therefore, Mercury’s characteristics will also be highlighted and intensified during this new moon. Geminis are renowned for being talkative and argumentative, and Mercury is known for communication, therefore conversations may have misunderstandings and quickly and easily become heated. Mercury is associated with agreements, contracts, listening, learning, negotiating, purchasing, selling, speaking, travel plans, and vehicles. Therefore, when the moon is in Gemini, we can expect any or all of these things to be impacted. Gemini has both Dr. Jekyll and Mr. Hyde personalities and can be volatile, so we may feel one emotion vividly one minute and an entirely different one the next. New moons represent the end of one 28-day cycle and the start of a new one, and this lunar event is also the last of an intense and energetic half year. It is a turning point for clearing out old energy from the past six months and is a catalyst for beginning the second half of the year focused on creating space for high-vibrational, positive energy to enter. New moons can cause us to feel introverted and introspective; however, our need to escape from the manic external world does not necessarily mean we want to be alone, but instead that we do not want to be surrounded by those whose energy feels tense, negative, and who bring us down. We will notice we have the desire to remove ourselves from dynamics that cause friction—and instead, we’ll find we are gravitating toward those with whom we feel peaceful and calm. In short, during this new moon, we will be drawn to those who feel like “home.” We have gone through many drastic energy shifts lately, which have taken us through personal transformation and caused us to vibrate on an entirely different frequency. This new supermoon brings another major awakening, in which we will see everything around us as though we are viewing and perceiving it all for the first time. This can feel terrifying, as we may suddenly question how we have managed to maintain certain relationships or continue in certain jobs or living arrangements for so long. Gemini’s moon is giving us the courage to speak our truth, loudly and clearly, and we will intuitively know what we want and where we are heading. We will be looking back over the past six months and understanding why we have been through certain challenges, what they have taught us, and how they have led us to where we are now. As we go through this deep inner reflection, we will receive a clear vision of where we want the journey through the second half of the year to take us. This could mean that we will need to commit to a dramatic detox of our lives, so that anything that is not aligned with where we want to be when the year ends has to be released. This is most certainly the time to get rid of any habits, patterns, thoughts, obsessions, commitments, dynamics, or material items that have been weighing us down and keeping us stuck in a reality that it neither healthy or serving us. Anything that no longer resonates with who we are and how we want to be living will start to dissipate before our eyes. We will be cutting ourselves free from the low-frequency entities that we have become attached to and burning through old paradigms, as well as setting alight a crumbling bridge or two in the process. This leaves a gateway for those who reflect the same passion and desire to exist free from chaos, harm, and destruction—and for kindred souls who share a similar passion for co-existing harmoniously and lovingly on this planet to enter our lives. During this period, we will have low tolerance for people who are only around to create dysfunction—or to continuously take, with no effort to mutually maintain and build the relationship. Those whose energy radiates with authenticity, integrity, and sincerity are the ones we will feel magnetically pulled toward, and we will discover that as we refuse to settle for less, people with pure intentions will flow our way. The next part of this year is intensely powerful for manifesting exactly what it is we want, where we want to be, and who we hope will surround us. It is up to us to put the effort in now, so that we can end the year celebrating with people we love and appreciate and who feel the same way bout us in return—and at a stage where we can look around with pride at what we have achieved and close 2018 on the highest note. Everything in the universe occurs in cycles, and yearly cycles are ones where we are able to look back at how far we’ve traveled, how much soul growth has taken place, and also where we can learn from anything or anyone that has disrupted our path in some way. It all happens for a divine reason—but at the same time, we are also creators of our own destiny, so the faster we transcend lessons and patterns, the quicker we will attract magnificent possibilities and magical happenings will enter our lives. Gemini is so divinely placed as this six-month chapter comes to an end, as it is the “twin” energy and shows us how it is our individual choice as to whether we focus on darkness or light, our Jekyll or Hyde personalities, and that whichever one we put our time, energy, and attention into is the one that will ultimately win out. It is the ideal time to move closer to integrating both our dark and light sides, so that we accept that everything exists—good, bad, pretty, ugly, dark, light, and all in between. We can then try to fully accept ourselves (and those around us) on an entirely different level. We all have darkness and light—however, we don’t all make the same choices, and we don’t all behave in the same way. Our thoughts, feelings, and actions depend on which side we decide to give power to, so if we want to live a highly vibrational, beautiful life, it is vital that we choose wisely. A supermoon triad is a supercharged energy portal in which masses of luminous energy is believed to infiltrate Earth’s atmosphere. Absorbing it can be overstimulating, which might make us feel emotional, drained, and fatigued, and we may also notice the following occurring: >> People from our past reappear, so we have the chance to finally learn a valuable lesson, to make amends, or to forgive and release the past once and for all. >> Physiological symptoms may manifest, such as flu-like symptoms, ear ringing, or aches and pains. >> Frequent anxiety or feeling panicky without clear reason. >> We might “know” things without logical explanation and find it difficult to explain the source of our information. >> Irrational bouts of fear of the future. >> Temporary loss of memories, forgetting things, misplacing items. >> Time appearing to go extremely slow or fast. >> Taking more responsibility for behaviour and actions. >> Disrupted sleep, insomnia, waking between the hours of 2:00 to 5:00 a.m. >> Vivid dreams that help us find resolution with past emotional issues. >> Seeing and feeling energy such as orbs, sparks, or flashes of light; noticing energy warming the palms of hands. >> Irritable, triggered easily, mood swings, frustration, sadness, bouts of anger. >> Sensitive to noise, light, tastes, touch. >> Feeling as though something huge is about to happen. >> Awakening to past mistakes and no longer allowing ourselves to repeat them. >> Chronic fatigue and being around other people feels draining. >> Feeling zoned, spaced out, or ungrounded. >> Appreciation that all life is sacred. >> High intuition, sudden insights, heightened awareness, enhanced compassion and empathy, seeing things with clarity, and receiving answers or resolutions to ongoing issues. >> Releasing, healing, letting go of the past. >> Overthinking and obsessing over tiny details. >> Emotional, bursting into tears for no apparent reason. >> Noticing synchronicities—for instance, certain number patterns reappearing. >> More consciously aware of other people’s energy fields and highly sensitive to negativity. >> Sensitive to certain noises, particularly tones of voices. >> Becoming aware of things we have been conditioned to believe. >> Growing discomfort around certain family members, friends, or work colleagues. >> Wanting to spend time alone, introspection. Overall, we are receiving an empowering opportunity for major personal transformation, to remove blockages and old patterns, to realise and manifest our purpose, and to expand our conscious awareness. If we are willing to actively attune and integrate this cosmic energy, instead of fearfully resisting it, and if we are able to remain positive and open so that we adapt at a fast pace to the constant changes taking place, we can take full advantage of this rare energy portal. As the supermoon portal closes toward the end of August, anything we have been struggling with since the beginning of June will also come to a close and offer us heightened understanding of the challenges we have been through. During intensive energy shifts such as this supermoon triad, it is highly recommended to regularly cleanse our energy field at the beginning and end of each day by drinking plenty of water, taking salt water baths, meditating, or spending time outdoors in nature, and taking time out alone to reconnect with oneself and to release any negative energy that may have accumulated. ~Alex Myles https://www.elephantjournal.com/…/emotionally-intense-new-…/ JOIN HERE In Universal Service▲ Keeper of The Diamond Light Codes

[jxhkxhn-blog]

7 Website Design Concepts + Websites For Motivation

Coming up with great website design can be difficult. When you can't get the innovative juices streaming on-demand, it's simple to feel stuck and end up being disappointed.

If that's how you are feeling right now (or in some cases), this post is here to assist you. In the following, I offer you actionable methods to overcome the designer's block when the ideas are simply not flowing.

Ready? Let's get going ...

1. Use Pinterest Mood Boards

Pinterest is a great tool to develop mood boards. You can collect the visual product that you think would be handy in your project or will supply a direction. These can be images, colors, layouts, existing sites and more.

The state of mind board will act as the main hub for your design inspiration. You are likewise able to share it with customers or partners so they can contribute to their product.

2. Produce a Step-by-Step Plan

You know what they state: Stopping working to plan is planning to stop working. This is likewise real in web design. If the website design concepts fail to come around, perhaps it's because you have not handled the principles yet. Only when the fundamentals remain in location, will you be able to put imaginative discuss top. Here's what preparation can look like:

Specify the website's goal-- You need to know what the site is expected to achieve. If you do not, what the hell are you developing towards? Great objectives are SMART: Particular, Quantifiable, Obtainable, Pertinent and Timely. More on that here.

Design the buyer's journey-- Besides the total objective, you also need to figure out what road you desire visitors to take. From when they strike your site to whichever objective you want. That method, you can create a structure to guide them along with the method.

Develop a design guide-- Developing a style guide will help you stay constant in your design. It specifies fonts, colors, and other design components. Using one promotes harmony, especially when working with others. Google is a good example. Plan your SEO-- Preparation is likewise essential for SEO. Produce a website map to comprehend how to structure your information for both visitors and search engines.

3. Concentrate on the Structure First

Just like making a plan, focusing on your website's structure first assists you to step away from the procedure and get more of a bird's eye view.

It can assist to work with a different medium than your computer system. For example, by making sketches on paper with a single pen, you can forget about colors and other information for the minute. If you are utilizing flipcharts or whiteboards, you can even make the whole thing collaborative.

An excellent exercise can likewise be to draw the website on a post-it note. This will require you to adhere to essentials. A variation of this is to produce your design in tones for gray first and just include color later on. By doing this, you are required to establish a visual hierarchy without depending on color.

If you are hell-bent on using your computer to design, you can use the "squint test". That means moving away from the screen and squinting your eyes. The blurred image will show you what is most obvious on your site and what the novice visitors will probably notification initially.

4. Stick With Web Standards

It resembles designers to wish to be creative. That's normally an advantage. Remember that it's required to set some boundaries within which to be creative.

For instance, in web design, there are several recognized standards. Visitors are utilized to certain design tropes and website elements. When you break those guidelines too much, it might confuse them and turn them off.

Google research study has revealed that the less a website confirms to prototypical standards, the fewer users perceive it as lovely. Since of that reason, sticking to established guidelines is a great concept.

Among those developed standards are:

Consistency in branding and design across all pages

Website logo in the leading left corner

Contact details in the leading right or center

Main navigation across the top of the screen

Main headline/value proposition and call-to-action high up on the homepage

The search feature in the header

Social media icons in the website footer

5. Concentrate on Minimalism and CTA buttons

When you know the objective of your site and pages, this also allows you to eliminate whatever that doesn't serve that purpose. This simplifies your design and makes it more enjoyable to look at.

Once again, there is a research study to back this up. In the same study pointed out above, Google has found that visual complexity is adversely correlated with website appeal. In other words-- individuals don't want to be overwhelmed! Simplifying your design is good for other features, e.g website speed.

Here are a couple of things you can securely remove:

Menu items-- Obviously, you desire others to explore more of your site. However, an overloaded menu can be very confusing and have unfavorable impacts. Once again-- stick to the basics!

Sidebars-- A growing number of websites are phasing out the sidebar. What do you have in your sidebar? Is this important?

Muddy jargon-- The very same thing that goes for stock photos goes for language. Worn-out phrases, cliches, and hollow words make people tune out. Stop using them, inject some character in your writing,

6. Start With Mobile

The mobile phone has taken the world by storm. By now, more people browse the web through phones and tablets than on desktop computers.

Furthermore, Google revealed that they are presenting their brand-new mobile-first index. That indicates, when completed in effect, the online search engine will judge every website on their mobile presence first. If it's not doing its task properly, you will take a hit in the search rankings.

For that reason, when designing a website, it would be a great concept, to begin with, the mobile presence initially. From now on, mobile users will be your main customers. Therefore, you better ensure they feel catered to.

7. Focus On Material Formatting

Content format is an undervalued tool for web designers. Material is the most crucial element of your site, be it in the form of blog posts or a sales copy. In the end, that is what you want visitors to take in. Your design's function is to provide it in a way that they do.

It indicates that you need to make your material fit their consumption habits to make it more impactful.

Here's how to do that:

Include headings-- Headings are an excellent method to separate material. Many readers also utilize them as anchor points for scanning and read-only those parts under headings that seem fascinating to them. For that reason, make sure to utilize headings and make them descriptive.

Usage paragraphs and lists-- Nobody wants to check out one big blob of text. Paragraphs divide content into little chunks. Open up a new one whenever you open a new point. Lists have a similar function and make information more accessible. Utilize them too.

Don't stint media and visuals-- Visual information is much more friendly for the human brain than text. For that reason, it's a great idea to use images and other media to highlight the points made in your copy. It's likewise, again, a fantastic method to break up longer pieces of text.

Enhance your font styles-- Your use of typefaces likewise significantly affect legibility. The most crucial tools you have here are the size and line-height. Choose a minimum of 16px (Medium has 22px!) and make sure to add more line-height the smaller the font style you are utilizing.

[jbrownbbbwc2019]

Project Proposal

Summary:

This work comprises of a series of aeolian (wind) harps within the branches of a single tree in natural wooded or forest environment. Through the ebb and flow of the wind combined with the swaying branches of the tree, these harps will create atonal harmonies with one another that continually change pitch and tone echoing the changing winds and transitional essence of nature.

Location and duration:

The work is within the woods at wild park, on the outskirts of Brighton (Exact location on my blog). I aim for it to stay up for a year acting as a long-running performance of nature and the changing seasons. It can also have periods of amplification where I will use a combination of pickups and speakers to bring more awareness and further exemplify the ideas present. The piece will then become a record of these ideas, I will go throughout the year in varying conditions to gather recordings (both of the harp and field recordings) to create a sound art composition that reflects the seasonal changes within nature.

Project, creation, and creator:

This project aims to bring the viewer into a present awareness of themselves and nature through enhancing the natural sonic qualities of a space. When the piece is dormant, passes by can notice or not notice the piece and choose to sit and listen or walk on. This reflects attitudes towards the environment and the piece makes conceptual connections to the continual degradation of nature without choosing to confront people but instead by making an audience aware of the space around them, allowing and encouraging reflection on themselves and the environment. Through amplification, the piece will also have an active state where the sounds will be exaggerated to more effectively draw in audiences and give the piece a greater presence. It works in a similar way to the natural soundscapes of Bernie Krause or Jonathon Storm insofar as it opens up avenues of thought related to the natural world which can be an effective method of helping to change people’s perceptions of nature and may help towards better treatment of the environment on an individual level. As the piece is located outside the city, in the tranquillity of nature, introspection and a present awareness are also potential effects that this piece will have on an audience. This is achieved by the harps through sudden and unexpected interruption, it gives people a reason to sit and listen to sounds rarely heard, in a location rarely paid an adequate amount of attention. I feel that it is important that people take time to allow their mind the space to think, especially in an age of constant information. As this piece uses no screens and instead simply asks you to listen, it will naturally encourage this introspection.

The piece then becomes a permanent comment on the ideas reflected in its initial stages in the form of a sound art composition. The main elements of the later piece will consist of the sounds of the harps taken from recordings at seminal points of each season. The timbre, pitch, and tone of the instrument will change in different conditions due to both the way that the tree and weather change throughout the year. This will be combined with recorded sounds of the forest which also drastically change due to the varying animal and plant diversity throughout the seasons. This signifies change over time and the cycles of nature present in the world and our own lives. To take this idea further I will create an actual score that reflects the four seasons, both versions would be realised and created to appeal to the variety of audiences allowing both for a sound art and musical piece as well as provide these audiences with a similar but virtual effect of the original creation.

The last major project I worked on involved creating a soundscape for a visual piece to be exhibited within a gallery setting. This meant that I was able to explore the medium of sound further than I have before, breaking constraints of structured music and instead allowing for a conceptual

approach to sonic composition which can have a significant effect on the psychoacoustic space of an audience. This project allowed for exploration of the public space allowing for exploration and examination of audience reactions to sound. As a medium, I feel that it is the least intrusive but most effective way to enter an audience’s mental space. Not asking to be seen but forcing you to listen, sound allows the mind time to be present. In an attempt to exemplify this, I chose to create a simple soundscape drawing meaning from the space and an audience's connection to it. As I have previously mostly worked with film, I have not explored conceptual approaches to sound and I have not yet taken the opportunity to embrace the public space within a work, this project embraces new avenues of exploration both through audience and medium. Environment and the natural often plays a part in the thought process behind my work and is more prevalent now than ever in the minds of audiences due to rapid climate change. This work is my first step into conceptual approaches of psychoacoustic spaces and how this can affect an audience’s relationship to the natural world.

Audience and participation:

The work approaches its classification as an art piece in a different way as it purposely distances itself from music, installation or sculpture and instead operates on a personal individual level. Instead of choosing to engage an audience who are there to participate in an active and established way as they would in a gallery space, it surprises an audience and allows for them to choose to participate however they wish, outside the confines of predefined audience roles, allowing for unjudged introspection, appreciation or ignorance. The most common audience will be people walking around the forest, who already chose to engage with nature, however, once the piece progresses to the later levels of recording and performance the way that an audience interacts with it will drastically change. The compositional recordings would be available online meaning that the audience can be anyone anywhere, this detracts from the location of the harp and means that some of the original intentions are lost due to lack of presence in the natural space. It does, however, allow for more a more intentioned and academic audience to view it as a piece of sound art or musical composition and therefore appreciate some of the conceptual qualities. Live amplified showings of the work will also change audience perceptions, technology would be used to amplify the signal, detracting from the direct relation to nature but adding intrigue due to the usually imperceptible sounds. These showings would be advertised, hopefully attracting a wider range of people as well as situating the piece within the art establishment.

Professional and artistic developments:

This project leads to indefinite new possibilities within my work, the creation of an instrument alone allows for endless digital manipulation creating a library of previously unexplored sounds which I can use for film soundtracks, musical compositions, and sound art works. The future possibilities of this project mean that I can further explore formal, notated composition, something I have not spent time doing for a few years. It also allows for the opportunity to put on showings of the work outside of university or the gallery space enabling conversations with the passing public allowing for the development of the ability to perceive artworks from an outside perspective of the art establishment. This is my first step into sound art as a practice, something which greatly interests me and allows for greater experimentation and development within film but also outside of the medium. This also allows for a view of extended works, lasting over a year this project will allow for consideration of how time influences a work and what some of the positive and negative effects of working over long periods of time could be. I am excited to complete this project and see what the products of its creation lead to.

[j86cal-blog]

Brand new photo editor for PC

Check the photo editor free download for starters and experienced with a lot of useful features or smart photo editor for amateurs for practical brighten images or uncomplicated photo solarization. Photo editor for PC to professional photo collage and easy crop an image. Free download photo editor for pros and software to edit an image to enhance a picture or color mode.

Abstract photos are indicated to capture the essence of a thing, or a collection about them, prevent disclosing the overall scene as a whole. Simply put, they serve the purpose of developing one-of-a-kind images from average objects. That aspect can be completed by increase a part of an otherwise normal image and by shooting near shootings of things that leave the customer wondering in admiration, naturally that the thing may be. As well as subjects with drawings or even duplicate are terrific candidates for different pictures, such as in the photo of sliced up things below. Photo editor for PC does have a few of the functions is effectively recognized for, which comes somewhat beneficial when you've picked you've like to effort your hand on something a lot more better than cutting out a part of a photo and also photos color correction. Photo editor can additionally bring in stills from online video, and also various reports. And also when you're experiencing a little bit lazy or it is only ordinary unaware regarding how to use a few of the devices, a helper can support you to change the essentials just like lighting fixtures, focus, color, and also cutting of pictures. For those who like their images in different screen versions, the program aids you effortlessly developed images to generate a breathtaking photo. And also when it's opportunity to series off your digital photography abilities, you can pick among the photograph package deal design themes to quickly print them in a certain dimension. Additional info about saturate photos with the photo editor free download or new photo editor for Computer with a lot of cool options to functional brighten photos. Photo editor for PC for Computer and software to edit a photo to cut images. Download here free this photo editor for prompt and smart flip images.

This photo editor for PC is well for anxious trainees along with a bunch of attend their manpower to establish the too technical functionalities that would certainly fear away 1st chance image editing and enhancing users. It likewise happen geared up along with a 360 panorama system. Perhaps the shiniest jewel in the package will be actually the attractive skin layer impact, which does away with red areas and evens out the complexion.

While there is actually no auto different colors remedy alternative quite vital to remedy the crappy illuminating most electronic cameras file, there are still the conventional components of change the size of an image.

One of the most well-known misconstrued components of digital photography is what occurs once you made the photo shot in truth editing your pictures. We will cover some concepts for modifying your photos, from the fundamentals like photo mosaic as well as create a photo collage, via more challenging actions. The cut out technique permits you to transform the size of your picture, as well as additionally to transform the aspect ratio. For instance, you can chop a picture from a rectangular shape to a triangle shape. There are several factors you would wish to cropping, consisting of for publishing in various layouts and also facet relations. Contrasted to the initial, I have actually chopped the photo with photo editor to remove the colored part of the left side of the photo shot as well as reassembled using the regulation of one-third. That makes the lightning bolt more the emphasis of the shot. When making the photo, you may question why I did not just compose properly. So in this situation, I was actually performing a longish exposure photo shot without a tripod stand, so had actually the camera stabilized on the side of the street for security. That extremely much restricted my capacity to completely mount the moment, so I simply photoshoot bigger, understanding I had to be able to crop the photo shot properly as a result of the truth. In both situations, chopping is really basic as well as it is just entails you picking the cut out appliance and after that choosing the area you intend to keep with your computer mouse. Then you use the modifications as well as your brand-new chopped picture prepares to go.

The convenient photo editor for PC for photographers to correction of tonal value

More help about brighten a picture or insert cliparts in photos with the photo editor for PC free download and simple to use photo editor for PC for Computer and experts for comfortable brighten pictures. Photo editor for PC or edit a photo software to scale photos and photos sepia. Free download photo editor for PC for experts or edit an image software to scale a photo or insert objects into photos. Whenever the perspective line in a picture is certainly not level, one of my own petty aggravations in photography is. Occasionally when we are caught up in the second, this essential rule is failed to remember however the bright side is such enhancing your pictures with the photo editor for PC to make them degree is additionally very simple. Leveling the cam at the edge of the pier suggested that the shot was not degree that is especially easy to see to the vision when the picture has actually a plainly specified horizon line, just like the seashore. A leveling method becomes part of the cropping device, and also you are able to just rotate the image to fit. A grid will seem to assist you obtain the arrangement proper while you make use of the photo editor for PC.

Pointing an image is a really simple task that will certainly take just a few ticking, leading to a far more visually charming photo. In certain cases when we take a picture, parts of the photo may end up being actually brighter than we want. We refer to the dark spots of the image as shadows, and also the brilliant parts of the photo as spotlight. Comparison has to do with highlighting the contrast in between the brightness and also darker sections of the photo. Enhancing the contrast of an image can significantly improve the aesthetic influence in which had, by making the limits between those dark and also light sections more clear. Shade adjusting is another useful component of the photo editor for PC. You can readjust image color or texture in all type of ways, starting with altering the entire character of the picture such as how blue and green it shows up, to independently transforming the shade and also interpenetration of details colors within an image. I only wish to talk about a few really simple color scheme corrections you can easily use to create your pictures simply a little much more creatively highly effective.

The most effective method to change the color or texture in regard to a picture is definitely using the saturation gadget from the photo editor. That modifies the visual aspect related to each color within a photo to make it basically condensed. As with lots of styles, the trick is actually to get an effective harmony also much shading the pictures often tends to look rather not naturally made. Hue photos can be pretty reliable, and of course white as well as black is a fantastic decision for almost all type of situations, particularly, construction, and also specific landscape pictures. Download the photo editor for PC or top photo editor for PC for amateurs for practical colorize pictures and very easy insert people into photos. Smart saturate pictures with a photo editor for PC for amateurs to photo collage. Download here free this photo editor for speedy and simple brighten a picture.

Photo editor for PC for amateurs and pros with many cool features

In certain cases there may be a little something within a photograph that you really do definitely not intend to be certainly, there, like a disturbing pimple on anyone's forehead. That is very simple to clear away in every the main photo editor for PC.

It is usually very easy to clear away any kind of things directly out of a picture but the photo editor does work best on distinctive, small items that are probably rounded by uniform color or textures. This is since the heal device needs to change the area you wish to get rid of with something else, and this works best when it has an area nearby that looks comparable. For example, bright spot on a face is bordered by a great deal of in a similar way tinted skin, so the recover tool can quickly compute what to change the dark point based on the bordering location.

This specific is probably just because the photo editor needs to replace the spot you wish to get rid of with another thing, and also that does work most effective when it has a section near that looks relatable to each other. Photo editor has ended up being quite intricate as well as impressive and it is usually possible to adjust photograph therefore they come to be completely various out of the initial. There are lots of photo editor and wide varieties of means of achieving the exact same or very much the same results.

The intent most for the majority of pictures I post procedure is generally to help make them appear being normal as feasible. I think this is a great spot to start off, also if you intend to go on and also produce much more surreal looking images. Shade array inside a picture is just one of the primary priorities. You can typically see a wider range of tone than your cam can record.

The significance of picture editing is the act of adjusting an image, just simply put. However that is oversimplifying a subject which is extremely complex. You can commonly carry out basic picture modifying techniques just like photo sepia rather quickly and swiftly however complex strategies and also electronic editing might require photo editor and also more years of experience.

Photo editor is a helper which anyone able to utilize to manipulate as well as improve photos. Due to the fact that photos contain a raising variety of usages, increased services are looking for ways to reuse photos and work with them on plenty of channels. Get this photo editor or brand-new photo editor for PC for Computer to invert images. Photo editor for PC for experienced or software to edit a picture to rotate photos or print a photo. Get this photo editor for fast and smart flip pictures.

[jace50l-blog]

User friendly best photo editing software for beginners

Making fantastic photos for your web site down to something as well as that is practice. Emphasize to do 3 photographs every single hour no matter when you are outside and also regarding or house sitting at the bed reading. Best photo editing software for beginners does have a few of the components is well-liked for, which comes rather handy when you have actually chosen you've like to make an effort your give on something much more high end than text in photos as well as draw in a photo. Best photo editing software for beginners may likewise import freeze frames from online video, besides various files. And also when you are actually experiencing a little idle or even it is just plain ignorant about just how to make use of a few of the tools, a helper can easily support you modification the essentials just like lights, concentration, shade, as well as cutting of graphics. For them that like their images in wider screen editions, the program function assists you very easily created pictures to develop a spectacular image. As well as if it is actually a chance to unveil off your digital photography abilities, you may decide on amongst the picture package templates to right away publish all of them in a certain dimension.

Easy crop pictures with a best photo editing software for beginners to correction of contrast

This best photo editing software for beginners is better for ecstatic students with a considerable amount of time in their workflow to find out the also technological components that will terrify very first chance image modifying customers. It similarly comes prepared with a three-sixty scenic view system. Likely the gleaming treasure in the bundle will be the lovely skin result, which evens and clears away colored areas out the complexion. While there's no automatic different colors repair service substitute pretty necessary to repair work the bad lighting up most digital video cameras squeeze, there are actually the fundamental features of insert objects into photos. Among the most well-known misconstrued components of electronic photography is what happens after you made the shot as a matter of fact editing and enhancing your photos. That's the time where you modify the images you have taken, to produce the final product. Editing your images is the matching of the dark room from the time very long time ago. We are most likely to be discuss some concepts for modifying your images, from the basics like text in photos and insert objects into photos, via more challenging effects. The crop appliance enables you to transform the size of your picture, as well as likewise to alter the facet proportion. You can crop a photo from a rectangular form to a square shape. There are many reasons you would certainly want to cropping, including for publishing in various formats as well as aspect relations. Contrasted to the original, I have actually chopped the photo with best photo editing software for beginners to get rid of the shining component of the right-hand side of the picture and also reassembled using the regulation of one-third. It makes the darkness bolt much more the emphasis of the shot. When making the photo, you could question why I did not simply make up appropriately. So in this situation, I was making a long exposure photo shot without having a tripod stand, so had the video camera balanced on the edge of the pier for security. That significantly restricted my capability to completely frame the moment, so I simply photoshoot larger, recognizing I had to be able to crop the shot properly right after the fact. In this both situations, chopping is extremely basic as well as it is just includes you choosing the crop appliance and then picking the area you wish to maintain with your computer mouse. You apply the adjustments and also your brand-new cropped image is ready. More info to resize a photo and texts in photos with the best photo editing software for beginners download and new best photo editing software for beginners for amateurs to convenient cut photos. Blur an image is easy to handle with the best photo editing software for beginners. Get this photo editing software for prompt and intelligent blur a picture.

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Photo editor for Windows and experienced with many great functions free download Sometimes when we take a photograph, components of the photo might wind up being actually darker than we want. We refer to the shady spots of the picture as shadows, and also the brilliant spots of the shot as highlights. Variance is actually about emphasizing the variation between the light fixture as well as darker parts of the image. Enhancing the contrast of a photograph can dramatically enhance the visible influence that had, by creating the borders in between these dark and also light parts more clear. Coloring correction is one other vital component related to the photo editor. We can readjust photograph coloring in every kind of ways, starting with altering the overall character of the picture such as just how http://www.in-mediakg.com/software/photo-editor/ red or green it looks, to individually altering the tone and also concentration of certain colors contents of a photo. I simply just desire to go over a few really easy color adjustments anyone can utilize to make your photography just a little extra aesthetically effective. The most effective solution in order to regulate the color related to a photograph is with the hue method of the photo editor. This modifies the visual appeal related to every single color scheme in a picture to help make it essentially condensed. Similar to many edits, the key is actually to get a great harmony excessive saturating the photos have a tendency to seem rather unusual. Hue photos can easily be actually pretty reliable, and obviously white colored and black is an exceptional decision for all kind of scenarios, particularly, family portraits, as well as specific panorama views. One of my personal scratch annoyances in taking photos is if the perspective line in an image is uneven. Sometimes whenever we are actually taken up in the moment, this essential policy is forgotten but the excellent information is such editing your photos with the photo editor to make them grade is also really simple. Stabilizing the cam within the edge of the boat dock indicated that the photo was uneven this is notably noticeable to the vision whenever the image has actually a clearly described horizon line, like the ocean. This leveling device becomes part of the cropping device, as well as you can easily simply just spin the picture to suit. The grate will certainly show up to allow you acquire the placement ideal as soon as you utilize the photo editor. Pointing a photo is a really basic task in which will take just a few seconds, causing a lot more visually wowing image.

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Essay代写：Chopin's piano art

下面为大家整理一篇优秀的essay代写范文- Chopin's piano art，供大家参考学习，这篇论文讨论了肖邦的钢琴艺术。肖邦的音乐作品是肖邦对自己以及他人人生经历、生活环境在艺术上的反馈，肖邦是钢琴艺术史上一个不可磨灭的印记，他的爱国主义情怀，他的浪漫主义风格，无论是从体裁、风格还是演奏技巧都有深刻的体现。而且从这三方面也可以很明显地看出，肖邦善于继承和发展，不偏离主流却又不拘束于主流，有着自己的创新和看法，以及对钢琴艺术的理解。

Born in Poland in 1810, Chopin began composing at the age of seven, performed on stage at the age of eight and toured Europe at the age of 19. Although he died at the age of 39, he left more than 200 works. Chopin is a representative romantic poet in the 19th century. His works are based on polish folk songs and dances, together with Bach's influence, forming his own style. "Born in Warsaw, the soul belongs to Poland, the talent to the world." This is perhaps the most pertinent assessment of the great man.

From the point of view of genre, Chopin's piano music is of complete length, both large and small are famous representative works. In small piano music, etudes are different from the previous ones. The most intuitive one is that they are more difficult and targeted, with higher requirements on the players' level and clear teaching purpose. As an etude, it attaches great importance to emotional catharsis under the condition of guaranteeing the teaching purpose. It not only attaches great importance to practicability, but also attaches great importance to its artistic function as a music work itself. The etude in C minor is Chopin's indignant work when he learned of the Warsaw uprising. The prelude is very similar to the etude, but the prelude is more focused on simple and concise content. Each capital of Chopin's prelude is unique, expressing the ups and downs of emotions with superb music and performance skills. In addition, Chopin's greatest contribution to the prelude was to make it an independent piano genre and continue to shine. The genre of nocturne was first used by John field in his works, and Chopin inherited and developed the style of John field. There were traces of John field in his early works, and Chopin later created image contrast and long poems, which expanded nocturne. At the same time, nocturne is one of the most outstanding parts of Chopin's works, which focuses on the creation characteristics of Chopin's romanticism. Chopin's waltz originated from traditional is higher than that of traditional, embodies the artist machining and grinding of secular culture, for piano waltz gives a new definition, his waltz momentum high rhythm sonorous, expressed the polish people's confidence, the polish people's national story, this is also the embodiment of patriotism of Chopin's art. Scherzo in large piano music originally existed as a diverge in large instrumental music. Chopin processed and refined it independently and finally formed a new genre close to himself. Ballade is large in length, complex in content and rich in plot. It integrates literature, history and other aspects, and is innovative in expression form, content and emotion.

From the perspective of artistic style, Chopin's most typical style is his romantic style. Chopin interprets the true meaning of romanticism with his own personal charm. He has his own inspirations, he is obsessed with his own ideas, and his subjective color is obvious. Like most romantic artists, they share their feelings in poetry far away from reality, or in their deep emotions, reflecting the pain of the weaker classes in the society. The second is his patriotism. Chopin was always an artist who cared about his motherland. He used his works to show his inner thoughts and express his strong patriotism. The last point is that as an individual, he interprets and thinks about himself by using piano music that he is familiar with and good at. In addition, Chopin's works also greatly absorb the essence of folk music, good at Chopin belongs to folk music, known as carry on the processing and transformation, like China's song dynasty writer su shi, the song ci, lives, customs without reduce the style of art itself to broaden the scope of art spread. This music attribute of Chopin has a great relationship with his national consciousness, which he cultivated in his early years by following teachers and associating with cultural personages. Chopin was not only a pianist, but also had a deep understanding of history, literature and drama. He creatively integrated dramatic conflicts into piano music, making the plot ups and downs and fascinating. Chopin was also good at creating new rhythms, unfettered by tradition. Delicate tone, he broke through the old classical style, good at using his imagination, new, this is more obvious in Chopin nocturne performance. In the form structure, Chopin's structure is "trilogy structure", he does not have a fixed format for the structure, sometimes is the calm after the chaos, sometimes is the recurrence of the climax. Be good at using repetition, replace contrast with repetition, grasp the appropriate scale, give a person with profound dripping enjoyment. Chopin also managed to overcome the limitation of the piano, that is, the inability to play sustained notes for a long time, by pedaling broad chords in the bass section to make the music transition naturally.

From the perspective of performance skills, in general, Chopin paid attention to the use of pedals, and pursued the use of pedals to the extreme. In terms of music score, the use of pedals was also accurate to the details, which was not only an emphasis on pedals, but also an emphasis on art. For example, when teaching students, he asked them not to step on the pedal when they were not proficient in it. When practicing the weak tone, they could not use the left pedal until they were proficient in the weak tone. For the grasp of speed, Chopin paid attention to the speed of freedom. On the one hand, he complied with the intention of the work itself, and on the other hand, he could add some ideas on the basis of freedom to make the work more deeply rooted. From the perspective of specific works, Chopin's nocturne makes good use of semi-tone and isotone, and attaches equal importance to the combination of vocal music and instrumental music. The integration of arias with sentences and grace notes, as well as the integration of exquisite rhythm and brilliant style. Chopin's etudes focus on the traditional harmonic expression. Although Chopin made some innovations in classical harmony, he improved it on the basis of tradition. You also need to use your fingers to control the tone. Chopin's waltz, with gorgeous big waltz in e-flat major "as an example, to touch the keys have requirements, speed, strength, touch the key to grasp the continuity, grasp the rhythm, fingers to be flexible, and grasp the rhythm, strength of enforcement is mainly the strength of the accused, pay attention to the strength change, beware ramp signals, for the emotional expression of speed according to the music, the music have light have grave, speed control and emotional expression. Chopin's scherzo, taking the fourth scherzo in E major as an example, has a relatively gentle rhythm and a relatively long length. Structurally, the most striking thing is his musical structure, which is the conversion of the main and minor parts, the main tone and the dominant tone. The material combines the trilogy of variations. Generally speaking, Chopin's scherzo no. 4 in E major inherited the traditional sonata and was not satisfied with the old format. On this basis, many changes were made to broaden the framework of scherzo. Chopin's ballade, the piano ballade in g minor, for example, color of grief is very strong, start from the beginning of the slow rhythm, laying the main tone, and then start the plot of the ups and downs, after began to use the same melody structure and farcicality, plus the soprano, alto voice stimulus to the person, ending in buoyant, intense melody expression of Chopin's patriotism and the love of the people. The theme of the work expresses the sympathy for the motherland and the people. Therefore, music has to show a romantic lyric color on the basis of sadness. It USES the chromatic and reverse playing to make the rhythm more vivid and rich.

Chopin's music works are his feedback on his own life experience and living environment as well as that of others. Chopin is an indelible mark in the history of piano art. His patriotism and romantic style are deeply reflected in the genre, style and playing skills. It is also obvious from these three aspects that Chopin is good at inheritance and development, not deviating from the mainstream but not confined to the mainstream. He has his own innovation and views, as well as his understanding of piano art.

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Discussion Leader 9/17

“What have you done, unfortunate man?" inquired Werther, as he advanced toward the prisoner. The latter turned his eyes upon him in silence, and then replied with perfect composure; "No one will now marry her, and she will marry no one." The prisoner was taken into the inn, and Werther left the place. The mind of Werther was fearfully excited by this shocking occurrence. He ceased, however, to be oppressed by his usual feeling of melancholy, moroseness, and indifference to everything that passed around him. He entertained a strong degree of pity for the prisoner, and was seized with an indescribable anxiety to save him from his impending fate. He considered him so unfortunate, he deemed his crime so excusable, and thought his own condition so nearly similar, that he felt convinced he could make every one else view the matter in the light in which he saw it himself. He now became anxious to undertake his defence, and commenced composing an eloquent speech for the occasion; and, on his way to the hunting-lodge, he could not refrain from speaking aloud the statement which he resolved to make to the judge.”(The Editor to the Reader)

1. Why do you think Werther reacted to the death of the peasant in the way he did? How do you think that plays into the justification for his own death?

2. Why does Goethe incorporate The Songs of Ossian? And why such a long section? What does it add to Werther and Charlotte’s relationship? What is the significance of the transition from Werther’s reading of Homer to Songs of Ossian?

“Sorrow and discontent had taken deep root in Werther's soul, and gradually imparted their character to his whole being. The harmony of his mind became completely disturbed; a perpetual excitement and mental irritation, which weakened his natural powers, produced the saddest effects upon him, and rendered him at length the victim of an exhaustion against which he struggled with still more painful efforts than he had displayed, even in contending with his other misfortunes. His mental anxiety weakened his various good qualities; and he was soon converted into a gloomy companion, always unhappy and unjust in his ideas, the more wretched he became. This was, at least, the opinion of Albert's friends.” (The Editor to the Reader)

3. What was the purpose behind the switch in narration after December 1st? How does this different tone affect the reader’s opinion of Werther, if it does?

“What a child is man that he should be so solicitous about a look! What a child is man! We had been to Walheim: the ladies went in a carriage; but during our walk I thought I saw in Charlotte's dark eyes—I am a fool—but forgive me! you should see them,—those eyes.—However, to be brief (for my own eyes are weighed down with sleep), you must know, when the ladies stepped into their carriage again, young W. Seldstadt, Andran, and I were standing about the door. They are a merry set of fellows, and they were all laughing and joking together. I watched Charlotte's eyes. They wandered from one to the other; but they did not light on me, on me, who stood there motionless, and who saw nothing but her! My heart bade her a thousand times adieu, but she noticed me not. The carriage drove off; and my eyes filled with tears.” (July 8) “And what is man—that boasted demigod? Do not his powers fail when he most requires their use? And whether he soar in joy, or sink in sorrow, is not his career in both inevitably arrested? And, whilst he fondly dreams that he is grasping at infinity, does he not feel compelled to return to a consciousness of his cold, monotonous existence?” (December 6) “I entreat of you to be more calm: your talents, your understanding, your genius, will furnish you with a thousand resources. Be a man, and conquer an unhappy attachment toward a creature who can do nothing but pity you.” (December 20)

4. What does it mean to “be a man,” or what makes a man, according to the author?

5. Why did the character of Werther become such a popular cultural icon?

Rose’s argument: Werther does not kill himself over love. He loves Charlotte, yet that is not what drives him to commit suicide. Werther is depressed and constantly speaks of suicide, both in relation to Charlotte and not in relation to her. Werther uses his hopeless love as an excuse for his actions. Whenever Werther writes of how he is committing suicide as it relates to Charlotte, he does so in order to place the blame on her. Had he truly had Charlotte in mind when contemplating suicide, he would have realized what a negative and heartbreaking impact his death would have on her and should have been willing to suffer through his unrequited love.

Nadia’s argument: Werther experiences the sublime when he fully succumbs to uncurbed wild emotion, as a result of his love for Charlotte, that is as destructive as the natural forces around him. Much like the sublime found in nature, Werther’s sublime is a frightening and powerful manifestation of his inner self that brings him immense pleasure. Werther is therefore drawn to storms and forest destruction, and contemplates the power they hold over his world. The chaos Werther finds in nature parallels to the chaos he creates within himself as he praises the greatness found in passion, intoxication, and extravagance. His devotion to the sublime pushes him further into the idea of suicide and thus marks his downfall, or destruction.

[jeki2011-blog]

Islamic Economics: What It Is and How It Developed

slamic economics has been having a revival over the last few decades. However, it is still in a preliminary stage of development. In contrast with this, conventional economics has become a well-developed and sophisticated discipline after going through a long and rigorous process of development over more than a century. Is a new discipline in economics needed? If so, what is Islamic economics, how does it differ from conventional economics, and what contributions has it made over the centuries? This article tries to briefly answer these questions.

It is universally recognized that resources are scarce compared with the claims on them. However, it is also simultaneously recognized by practically all civilizations that the well-being of all human beings needs to be ensured. Given the scarcity of resources, the well-being of all may remain an unrealized dream if the scarce resources are not utilized efficiently and equitably. For this purpose, every society needs to develop an effective strategy, which is consciously or unconsciously conditioned by its worldview. If the worldview is flawed, the strategy may not be able to help the society actualize the well-being of all. Prevailing worldviews may be classified for the sake of ease into two board theoretical constructs (1) secular and materialist, and (2) spiritual and humanitarian.

The Role of the Worldview

Secular and materialist worldviews attach maximum importance to the material aspect of human well-being and tend generally to ignore the importance of the spiritual aspect. They often argue that maximum material well-being can be best realized if individuals are given unhindered freedom to pursue their self-interest and to maximize their want satisfaction in keeping with their own tastes and preferences.[1] In their extreme form they do not recognize any role for Divine guidance in human life and place full trust in the ability of human beings to chalk out a proper strategy with the help of their reason. In such a worldview there is little role for values or government intervention in the efficient and equitable allocation and distribution of resources. When asked about how social interest would be served when everyone has unlimited freedom to pursue his/her self-interest, the reply is that market forces will themselves ensure this because competition will keep self-interest under check.

In contrast with this, religious worldviews give attention to both the material as well as the spiritual aspects of human well-being. They do not necessarily reject the role of reason in human development. They, however, recognize the limitations of reason and wish to complement it by revelation. They do not also reject the need for individual freedom or the role that the serving of self-interest can play in human development They, however, emphasize that both freedom and the pursuit of self-interest need to be toned down by moral values and good governance to ensure that everyone’s well-being is realized and that social harmony and family integrity are not hurt in the process of everyone serving his/her self-interest.

Material and Spiritual Needs

Even though none of the major worldviews prevailing around the world is totally materialist and hedonist, there are, nevertheless, significant differences among them in terms of the emphasis they place on material or spiritual goals and the role of moral values and government intervention in ordering human affairs. While material goals concentrate primarily on goods and services that contribute to physical comfort and well-being, spiritual goals include nearness to God, peace of mind, inner happiness, honesty, justice, mutual care and cooperation, family and social harmony, and the absence of crime and anomie. These may not be quantifiable, but are, nevertheless, crucial for realizing human well-being. Resources being limited, excessive emphasis on the material ingredients of well-being may lead to a neglect of spiritual ingredients. The greater the difference in emphasis, the greater may be the difference in the economic disciplines of these societies. Feyerabend (1993) frankly recognized this in the introduction to the Chinese edition of his thought-provoking book, Against Method, by stating that “First world science is only one science among many; by claiming to be more it ceases to be an instrument of research and turns into a (political) pressure group” (p.3, parentheses are in the original).

The Enlightenment Worldview and Conventional Economics

There is a great deal that is common between the worldviews of most major religions, particularly those of Judaism, Christianity and Islam. This is because, according to Islam, there is a continuity and similarity in the value systems of all Revealed religions to the extent to which the Message has not been lost or distorted over the ages. The Qur’an clearly states that: “Nothing has been said to you [Muhammad] that was not said to the Messengers before you” (Al-Qur’an, 41:43). If conventional economics had continued to develop in the image of the Judeo-Christian worldview, as it did before the Enlightenment Movement of the seventeenth and eighteenth centuries, there may not have been any significant difference between conventional and Islamic economics. However, after the Enlightenment Movement, all intellectual disciplines in Europe became influenced by its secular, value-neutral, materialist and social-Darwinist worldview, even though this did not succeed fully. All economists did not necessarily become materialist or social-Darwinist in their individual lives and many of them continued to be attached to their religious worldviews. Koopmans (1969) has rightly observed that “scratch an economist and you will find a moralist underneath.” Therefore, while theoretically conventional economics adopted the secular and value neutral orientation of the Enlightenment worldview and failed to recognize the role of value judgments and good governance in the efficient and equitable allocation and distribution of resources, in practice this did not take place fully. The pre-Enlightenment tradition never disappeared completely (see Baeck, 1994, p. 11).

There is no doubt that, in spite of its secular and materialist worldview, the market system led to a long period of prosperity in the Western market-oriented economies. However, this unprecedented prosperity did not lead to the elimination of poverty or the fulfillment of everyone’s needs in conformity with the Judeo-Christian value system even in the wealthiest countries. Inequalities of income and wealth have also continued to persist and there has also been a substantial degree of economic instability and unemployment which have added to the miseries of the poor. This indicates that both efficiency and equity have remained elusive in spite of rapid development and phenomenal rise in wealth.

Consequently there has been persistent criticism of economics by a number of well-meaning scholars, including Thomas Carlyle (Past and Present, 1843), John Ruskin (Unto this Last, 1862) and Charles Dickens (Hard Times, 1854-55) in England, and Henry George (Progress and Poverty, 1879) in America. They ridiculed the dominant doctrine of laissez-faire with its emphasis on self-interest. Thomas Carlyle called economics a “dismal science” and rejected the idea that free and uncontrolled private interests will work in harmony and further the public welfare (see Jay and Jay, 1986). Henry George condemned the resulting contrast between wealth and poverty and wrote: “So long as all the increased wealth which modern progress brings goes but to build great fortunes, to increase luxury and make sharper the contrast between the House of Have and the House of Want, progress is not real and cannot be permanent” (1955, p. 10).

In addition to failing to fulfill the basic needs of a large number of people and increasing inequalities of income and wealth, modern economic development has been associated with the disintegration of the family and a failure to bring peace of mind and inner happiness (Easterlin 2001, 1995 and 1974; Oswald, 1997; Blanchflower and Oswald, 2000; Diener and Oshi, 2000; and Kenny, 1999). Due to these problems and others the laissez-faire approach lost ground, particularly after the Great Depression of the 1930s as a result of the Keynesian revolution and the socialist onslaught. However, most observers have concluded that government intervention alone cannot by itself remove all socio-economic ills. It is also necessary to motivate individuals to do what is right and abstain from doing what is wrong. This is where the moral uplift of society can be helpful. Without it, more and more difficult and costly regulations are needed. Nobel-laureate Amartya Sen has, therefore, rightly argued that “the distancing of economics from ethics has impoverished welfare economics and also weakened the basis of a good deal of descriptive and predictive economics” and that economics “can be made more productive by paying greater and more explicit attention to ethical considerations that shaped human behaviour and judgment” (1987, pp. 78-79). Hausman and McPherson also conclude in their survey article “Economics and Contemporary Moral Philosophy” that “An economy that is engaged actively and self-critically with the moral aspects of its subject matter cannot help but be more interesting, more illuminating and, ultimately, more useful than the one that tries not to be” (1993, p. 723).

http://eh.net/encyclopedia/islamic-economics-what-it-is-and-how-it-developed/

[basaliskwrites]

World-building 1 - The Rou

The Rou are a towering and physically imposing race, though their fearsome and intimidating appearance betrays a balanced culture centred on kindness and cooperation. They hail from an isolated, arctic climate, reflected in both their adaptations and culture.

Personality:

The Rou define themselves as a ‘well-balanced’ race, and they fit in well with other species, particularly dwarves despite their impressive size difference and poor affinity for tunnelling. Their culture is advanced, but simple and without subtle nuance. As a result, the endless complexities of races like elves can sometimes cause miscommunication and confusion. As with many species as of the Third Era, Rou show a broad range of personality traits, from humble farming to arrogant conquering, and occupy a wide spectrum of professions.

Physical description:

Even a small Rou towers over the tallest humans. Generally they are around seven feet (215cm) tall but often grow taller, and are exceptionally bulky. There is little difference in size and strength between male and female Rou, and they can weigh more than 500 pounds (225kg). Their body is covered in short, fine fur, and they grow longer, thicker hair on their heads like many other races. Facially, they resemble humans with unusually robust skeletons and thick brows, with wider jawlines and thicker cheekbones, and a somewhat large, bestial nose. In addition, a huge pair of horns sprout from their foreheads, curving outwards and backwards slightly and with upward-pointing tips. These horns are very thick and strong, and are about as wide as the Rou’s very broad shoulders.

Rou feet are digitigrade and thick, like pillars supporting their massive frame, and sport a pair of toes with toenails almost like hooves. A third, vestigial toe exists as a stub at their inner ankle, but serves no purpose.

Rou also have a short tail, similar to that of a cow or bison, though it has almost no use to the individual.

Rou eyesight is not quite as sharp as that of other races, and falls far short of races like Elves and Harpies. However their bulbous nose is impressively acute, and their hearing is powerful as well, to compensate for their slightly dull vision.

Lands (traditionally):

The Rou hail from frozen land somewhat to the north of what other races typically consider ‘habitable’. Because of their large size and fur, they are well- adapted to surviving in the cold, and developed a civilised culture and sustainable lifestyle before their integration at the end of the Second Era. In the short summer months, they would farm, and in the winter they would hunt. Now they are seen all over the world, but prefer temperate and sub-temperate climates, as hot summers and a lack of snow are unpleasant to them. They are adept metalsmiths and have a love of the fires of industry almost as much as they love the snow of their homeland, making them invaluable partners to predominantly dwarven forges.

Religion:

Due to their isolation, Rou culture and religion is somewhat different from that seen in other races. Their worship of the pantheon is present, but much of their reverence goes to the world around them.

They believe that life, especially their own, is born from the harmony of ice and fire. They believe themselves to be shaped of ice, with the life of fire breathed into them at the dawn of time. This is the reasoning behind their warm blood, which they believe is indicative of a soul, and therefore life. When an animal dies its body goes cold, and its soul departs.

When fire meets ice, water is formed from the union, which Rou recognise as being the source of life, as most races do. They have a mixture of reverence and fear of water, however, for while it gives life to all, it is also perilous and often fatal in winter. This strengthens their belief of a natural balance, as with all things good and bad is present. The ice they are born from can be lethal with overexposure, and though fire keeps them warm and safe in winter, it can be extremely dangerous when mishandled. The Rou believe that maintaining an even balance of ice (stoicism, hardiness, patience) and fire (passion, aggression, haste) is required for a healthy body and soul.

Rou also have a fear and mistrust of fish and many reptiles. Fish are alive, as is plain to see, but there is no warmth in their bodies. To the Rou, this suggests an absence of a soul, which should prevent life, but fish persist. Therefore, there must be some kind of evil spirit present behind those wide, blank, staring eyes and they refuse to eat them in fear of allowing said evil into their bodies. Many legends exist in Rou culture of monstrous fish-like creatures breaking through the ice in winter months to kidnap small children from the water’s edge or even villages in the dead of night, and deep water is rightfully feared by the Rou. This could, of course, be superstition due to the dangers of falling through the ice, but few would challenge stories so innately abhorrent to their kind.

Though they might appear brutish and warlike, Rou foster peaceful relations when possible, particularly between members of their species. Cooperation is, after all, key to survival.  However, when provoked, Rou are more than happy to prove to others the formidable strength and endurance that their climate has gifted them.

Language:

Rou language is quite simple, lacking refined knowledge of tones, pitch and many other traits of more advanced languages. Which isn’t to say it is an obsolete language – it can sometimes take longer to get one’s point across without subtle nuance, but it is a language with little room for varied interpretation, so that once someone’s point is made, it cannot be misconstrued. This is a valuable trait, through the challenging harshness of their winters when communication and harmony is vital.

[chryblossom]

Research Activity

1.       What is visual media and information?

Visual media and information – materials, programs, applications and the like that teachers and students use to formulate new information to aid learning through the use, analysis, evaluation and production of visual images.

2.       What are the types of visual media (provide an example picture)?

Types of visual media – photography, video, screenshots, infographics, data visualization (charts and graphs), comic strips/cartoons, memes, visual note-taking, etc (Give examples of each type and highlight special characteristics of a given type and its application).

3.       What is the difference between formally and informally produced visual media?

Formally and informally produced visual media – visual media produced by formal organizations such as schools, government, and established media/publishing outfits are considered formally produced. Other visual media are considered informally produced.

4.       What is the purpose of visual information?

Purpose of visual information – the primary purpose of visual information is to gain attention, create meaning, and facilitate retention. (Show at least one example for each purpose and ask learners their reactions or responses to each one).

5.       What are the different visual design elements?

Visual design elements - the building blocks or basic units in the construction of a visual image. (Show visual media and information that incorporates most of the design elements. Point out why these elements are important). The Design Elements are:

a. Line – describes a shape or outline. It can create texture and can be thick or thin. Lines may be actual, implied, vertical, horizontal, diagonal, or contour lines. b. Shape – usually a geometric area that stands out from the space next to or around it, or because of differences in value, color, or texture. Shape may also be organic. c. Value – the degree of light and dark in a design. It is the contrast between black and white and all the tones in between. Value can be used with color as well as black and white. Contrast is the extreme changes between values. d. Texture – the way a surface feels or is perceived to feel. Texture can be added to attract or repel interest to a visual element. Visual texture is the illusion of the surfaces peaks and valleys, resulting in a feeling of smoothness or roughness in objects. e. Color – determined by its hue (name of color), intensity (purity of the hue), and value (lightness or darkness of hue). Color and color combination can play a large role in the design. Color may be used for emphasis, or may elicit emotions from viewers. Color maybe warm, cool, or neutral. It plays a major role in our visual perception, as it influences our reactions about the world around us. It is therefore important to create color palettes that evoke the appropriate audience reactions. Color has three properties. f. Form – a figure having volume and thickness. An illusion of a 3-dimensional object can be implied with the use of light and shading. Form can be viewed from many angles.

6.       What are the visual design principles?

Visual Design Principles are:

a. Consistency of margins, typeface, typestyle, and colors is necessary, especially in slide presentations or documents that are more than one page.

b. Center of interest – an area that first attracts attention in a composition. This area is more important when compared to the other objects or elements in a composition. This can be by contrast of values, more colors, and placement in the format.

c. Balance – a feeling of visual equality in shape, form, value, color, etc. Balance can be symmetrical and evenly balanced, or asymmetrical and unevenly balanced. Objects, values, colors, textures, shapes, forms, etc. can be used in creating balance in a composition.

d. Harmony – brings together a composition with similar units. If for example your composition was using wavy lines and organic shapes, you would stay with those types of lines and not put in just one geometric shape. (Notice how similar Harmony is to Unity - some sources list both terms).

e. Contrast – offers some change in value creating a visual discord in a composition. Contrast shows the difference between shapes and can be used as a background to bring objects out and forward in a design. It can also be used to create an area of emphasis.

f. Directional Movement – a visual flow through the composition. It can be the suggestion of motion in a design as you move from object to object by way of placement and position. Directional movement can be created with a value pattern. It is with the placement of dark and light areas that you can move your attention through the format.

g. Rhythm – a movement in which some elements recur regularly. Like a dance, it will have a flow of objects that will seem to be like the beat of music.

h. Perspective – created through the arrangement of objects in two dimensional space to look like they appear in real life. Perspective is a learned meaning of the relationship between different objects seen in space .

http://teachtogether.chedk12.com/teaching_guides/view/250