The management of art organisations Essay Example | Topics and Well Written Essays - 1500 words

The management of art organisations - Essay Example Consequently, it will be a useful company to the whole community. Further, the company acknowledges the family event, forums, and other events all in the effort of portraying the importance of artwork. It will also give chance to children who have art interest to pursue their dreams by offering them maximum support (Crosby, 2008, p. 5). Being a company known to deal in presenting the Australia’s most contemporary and largest visual arts, our mission is to get the recognition of the whole nation is terms of being a non-profit firm, yet helpful in selling the best talents in the country. Moreover, this company will ensure that productivity is translated into prosperity as well as growth for all the members who participates in our team. With this, the organization is determined to be a revelation to the larger community in the worldwide arena (Heijden, 2006, p. 4). The inaugural Biennale of Sydney was formed in 1973, with the aim of providing a showcase that could attract international community for contemporary art. The country is rich with traditional thinking. Therefore, the main aim of the organization was to challenge the traditional thinking by encouraging enthusiasm on a new level of thinking. For the above to work properly, it should be noted that the organization has to have attraction power. So far, this can be traced since the company now is witnessing an increased level of visitation, to the extent that it has doubled that of the year 2012. Its 18th Biennale of Sydney achieved a record of 665, 488 visitors witnessed across all revenues. This is somewhat encouraging, however, the fact remains that the country has to move forward, and pursue or perceive artwork on the level of the organization. This will change all the thinking of the Sydney’s residents, hence giving them a chance to explore the world to its furthest with rega rd to

Land Pollution Essay Example for Free

Land Pollution Essay Causes of Land Pollution 1. Degenerative Actions Degenerative Actions encompass a lot of human actions, including deforestation, overuse of pesticides and chemical fertilizers, desertification, mining, inefficient and / or inadequate waste treatment, landfill, litter, etc. 2. Misuse of Land Misuse of Land mainly refers to felling of trees to clear land for agriculture, as well as processes like desertification and land conversion. Desertification is when anthropogenic effects of human development or other actions convert a piece of (essentially) fertile land into desert-land or dry land. Land once converted to desert-land can never be reclaimed by any amount of corrective measures. This is also a serious issue because t does not only affect the land, but also the overall biodiversity of a place, especially when land is cleared for agriculture. A lot of indigenous flora and fauna is lost in the process. 3. Soil Pollution Soil Pollution is when the top-most soil layer of land is destroyed or polluted. Soil pollution is again another cause of land pollution that affects not only the land, but also a lot of other things such as forest cover of a region, productivity of land in terms of agriculture, grazing etc. Soil pollution is also caused by wrong agricultural practices, such as overuse of chemical fertilizers and pesticides. This causes non-biodegradable chemicals to enter and accumulate in the food-chain a process often referred to as biomagnification of a pollutant. 4. Land Conversion Land Conversion is the process whereby a piece of land is converted from its indigenous form to a form used for either agriculture or infrastructure. Land conversion is especially a growing problem that we possibly do not have a good or a good enough solution for. The best way to avoid land conversion is to make efficient use of the available land. Using a piece of land to its maximum potential is the key to eliminate many of the causes of land pollution. Effects of Land Pollution 1. Effects on Climate Land pollution can affect the general environment of the Earth. Land pollutions leads to loss in the forest cover of Earth. This is in turn going to affect the amount of rain. Less rains mean lesser vegetation. The effect of all different kinds of pollution will eventually lead to problems like acid rains, greenhouse effect, global warming. All of these problems have already initiated and need to be curbed before the situation runs out of control. 2. Extinction of Species One of the major causes of concern is the extinction of species. Species are pushed towards endangerment and extinction primarily by two processes. Habitat fragmentation is the fragmentation of the natural habitat of an organism; cause primarily by urban sprawl. Habitat destruction, on the other hand, is when land clearing adversely affects animals special such that their natural habitat is lost. Both the actions can cause some species to go extinct and others to become invasive. 3. Biomagnification Biomagnification is the process in which certain non-biodegradable substances go on accumulating in the food-chain (in one or more species). The most common example is of methylmercury in fish and mercury in eagles. Not only does biomagnification put the particular species at risk, it puts all the species above and below it at risk, and ultimately affects the food pyramid. 4. Effects on Biodiversity Species extinction and biomagnification is going to overthrow the balance of nature very significantly. The main reason for this is disturbance created in the food chain. To give you a very simple example on account of biomagnification of mercury in eagles, they might go extinct in the subsequent years. However, we know eagles prey on snakes. Less (or no) eagles will then result in more number of snakes! Ways to Reduce Land Pollution 1. Reduce toxic materials. Waste materials that are disposed of should have minimal toxic materials. This can be done by treating the waste materials with various chemicals to make them less toxic. Once the waste is treated, it can be disposed of using responsible methods. Harmful chemicals can also be replaced with less toxic, biodegradable materials. 2. Recycle waste materials. As explained by the Stanford Recycling Center, each American throws away 7 1/2 lbs. of garbage. Garbage requires landfills, which takes up large amounts of land. 3. Buy organics products, especially organic cleaners, pesticides, insecticides and fertilizers. The advantage of using organic products is that they are biodegradable and friendly to the environment. 4. Avoid littering. Excessive littering is one of most common reasons for land pollution. 5. Take initiative to inform others about the harmful effects of littering. Organic wastes must be disposed off in areas that are far from human or animal habitation. Waste like plastic, metals, glass and paper must be recycled and reused. 6. Improve fertility of the land by reforesting. Soils in forested lands are far more fertile than soil without trees, suggesting that trees have the ability to fertilize land.

The History Of White-tailed Deer In Kentucky :: essays research papers

The History of White-Tailed Deer in Kentucky   Ã‚  Ã‚  Ã‚  Ã‚  When our ancestors first reached Kentucky they found a great abundance of game, including deer. Early settlers utilized deer for food and clothing. Due to all the killing of the white-tail deer, around 1925 they were virtually eliminated in Kentucky. A few survived in areas such as, between the Cumberland and Tennessee rivers in western Kentucky, and a few survived in eastern Kentucky. In most places, though deer simply no longer occurred.   Ã‚  Ã‚  Ã‚  Ã‚  When the deer was on the verge of extension in Kentucky, the Kentucky Department of Fish and Wildlife Resources stepped in. They tried to save the deer in Kentucky and they succeeded. They regulated the hunting seasons and the amount of game allowed to kill. Today we have an abundance of deer in Kentucky, we have about 450,000 deer.   Ã‚  Ã‚  Ã‚  Ã‚  The white-tailed deer breeding season in Kentucky runs from October through mid January, reaching its peak in November. Most fawns are born in June, following a seven month gestation period. Newborn fawns will weigh about four pounds at birth.   Ã‚  Ã‚  Ã‚  Ã‚  Deer offspring are cared for and may remain with the mother until the next spring. Fawns retain their spots until mid September and nurse until mid October. About 40 percent of female fawns breed during their first autumn, but usually bear only one fawn. Does breeding at age 1 1/2 or older generally have twins, and sometimes triplets. By November, Kentucky's deer population typical increases slightly more than one fawn per doe. Although many more fawns are born than one per doe, some will die before the hunting season arrives.   Ã‚  Ã‚  Ã‚  Ã‚  A deer's home range averages about 500 acres. In mountains, the home range may exceed 1,000 acres. Even though this size area can support about 40 deer, these animals will not always stay just within their home range. Many will travel on and off that amount of land different times of the year looking for the best food and cover available.   Ã‚  Ã‚  Ã‚  Ã‚  One important key in improving deer numbers is helping provide ample amounts of the right foods. Healthier deer produce more offspring. White-tails eat a variety of vegetation, depending on what is available during different seasons.   Ã‚  Ã‚  Ã‚  Ã‚  In late winter, deer live mainly on woody twig ends and buds called browse. They will also eat acorns, corn and winter wheat if available. Spring foods include tender grasses, clovers and leaves of woody plants such as ragweed, native and cultivated grasses and clovers. During the fall, deer will use fruits and nuts such as acorns, persimmons, dogwood berries, corn and browse for a food supply.   Ã‚  Ã‚  Ã‚  Ã‚  Protection from severe weather, predators and illegal hunting is

Myths about the sun and the moon :: essays research papers

Myths about the Sun and Moon The sun and the moon are powerful beings that bring life and death to all living creatures. They control when it is day or night, which season it is, and the weather. They fascinate humans and a considerable amount of mythology has been dedicated to the creation of the sun and moon and why or how they travel across the sky during the day and night. This paper will discuss and compare some of these myths and the gods attributed to their care and existence. The sun and the moon are such influential powers that the creation of them is right along with the creation of the world and humans in some of the better-known mythology. The story of creation in Christian Bible tells of God’s creation of the sun and the moon. On the fourth day â€Å"God made two great lights - the greater to rule the day and the lesser to rule the night... God set them in the dome of sky to give light upon the earth, to rule over the day and over the night, and to separate the light from the darkness.† (Genesis 1.16-18). A similar myth of the creation of the sun and the moon is found in the Qur’an, "It is Allah Who hath created the heavens and the earth and sendeth down rain from the skies... He has made subject to you, the night and the day; the sun and the moon; and the stars in subjection by His command." (Qur’an 14:32-33). These two myths are from monotheist religions in which the sun is just created out of nothing, they describe the creation but they lack explanation as to how and why the sun and the moon where put in the sky and have no detail about the orbits or movement or them. â€Å"The Creation of the Sun and the Moon† by Michelangelo is a large fresco of God creating the sun and the moon. In the foreground he has one hand pointing towards a large yellow ball, the sun, and in the background he is pointing towards a large bluish ball, the moon. He is looking forcefully at the sun in the foreground. This fresco is just one person’s take on the creation of the sun and the moon as the bible explains it. The Egyptian sun god was Re. His name meant sun and he represented strength.

Unman Wittering and Zigo by Giles Cooper Analysis

We have been studying the play Unman Wittering and Zigo, which was written by Giles Cooper in the 1960's. Giles Cooper was born in Dublin in 1918 into a privileged home. His father was a naval officer, who later became a judge. Giles Cooper's father wanted him to become a diplomat or a lawyer but Giles chose to go to drama school rather than university. He was educated in a public school, subsequently the story is based on his own experiences of authoritarian teaching while he was a student. Giles Cooper was concerned about the effects of authoritarian teaching and as a result wrote this play. The play is about a teacher, John Ebony, in his first job who wants to make a good impression. He finds that the boys he is teaching are fractious and have a nasty habit of gambling. His life as a teacher rapidly descends in to a nightmare, and as the story goes on he begins to uncover the mystery surrounding the death of the previous school master. It goes on to reveal something dark and unpleasant about the nature of the boys who killed their form teacher. The play was written for radio so there aren't any visuals. The audience therefore had to imagine what the characters and scenarios were like. As it is a radio play the tone and pitch of the voice are very important because this is the medium through which effective understanding is conveyed. The scenes in the play are very short because audiences cannot listen for a long time without visuals. Therefore the director must entertain the audience by providing a gripping thriller. John is used in the story to expose the hidden secrets of Chantery and the corruption of the boys. Giles Cooper does this through a vulnerable and in experienced teacher. John is trying to be more like Mr Winstanly but this does not work for John because he is far too inexperienced. In the first scene John is appointed as a temporary teacher at Chantery. When the Head is talking to him he makes sure John knows about the reputation of the school, as if the headmaster is showing off. Surprisingly the headmaster ignores John's questions and instead of answering he interrupts or changes the subject. ‘Was he my predecessor? Er, Yes. That brick building†¦.' This makes the reader wonder why? He does it because he is hiding something about Mr Pelham The headmaster tells John that Lower 5 B are a little mischievous but he does not reveal the full truth about the class but holds it back. The Head then leaves him with Cary, by doing this the headmaster comes across as an irresponsible character. He also undermines John's confidence because he feels he is not important enough to be shown around the classroom. This is not the case. The headmaster is scared that John will find out about the corruption of the school if he is shown too much. This shows the Headmaster is hiding the inner secrets of the school and is only showing the ‘sugar coated topping' of an apparently successful public school. In scene 3 the boys take control very quickly. From the beginning the boys start mocking John and giving random and futile comments, as though they are mocking the way teachers teach. ‘Jamaica's in the Caribbean, sir' They use a derisive tone by giving useless information as though they are teasing John. John loses his temper and responds to this in an authoritarian way. As a diversion they then poke Wittering, who cries out loud. This delays the lesson again. When his attempt to quiet them down fails he resorts to using his authority. â€Å"Now I don't wish to crack the whip on our first morning but I will if you make me† The pupils respond to this by giving a fake confession to him of Mr Pelham's murder but they use this confession as an attempt to intimidate John throughout scene 3, John raises his voice constantly i.e. using authoritarian teaching to gain control of the class but this does not work and he fails to regain control of the class. The students take advantage of John's inexperience and in doing so gain an advantage over John When the Head walks in, the boys carry on with the lesson and by doing this makes us think that they have done this before. This is the chance John has to tell the Headmaster about what they had said, but foolishly he doesn't. This shows that John's confidence has diminished. Furthermore John presumably does not want to tell the Head because it could create the impression that he cannot handle the class. In scene 8, convinced that the boys have committed some sort of crime, John takes Mr Pelham's wallet to the headmaster and suggests that it should be given to the police. However, (contrary to John expectations) the headmaster tells him off for leaving the class and ignores his concerns. â€Å"‘It was in his pocket when he was killed' ‘It is a practice which is always discouraged here. Every period should be worked through whatever happens'† The headmaster then changes the subject, suggesting he doesn't want to discuss John's concerns, by saying he wanted to invite him for dinner. This shows that the headmaster does not give John any support but more importantly does not want the secrets of what happens in the school to be exposed. He is extremely sensitive about the reputation of the school. The Headmaster then seems to order him to return to Lower 5 B, â€Å"‘ Lower 5 B have been left to their own devices for long enough, Miss Gammel' ‘But sir' ‘Discourage any discussion of the matter'† By doing this the headmaster is discarding any of his suggestions and is not helping out John when he is inexperienced and unsure of what to do. The situation would affect John greatly because he knows he doesn't have any one to turn to and cannot do anything even if the boys intimidate and taunt him. When John returns the pupils seem to know what the Headmaster has said. ‘On the whole Ebony. The less said the better. Perhaps you better return to Lower 5 B. They have been left to their own devices for too long.' This suggests it has been said before. Teachers have gone to the headmaster but he has been very dismissive. The pupils seeing John's lack of confidence take advantage of the invitation and make a proposal. â€Å"‘You don't want to be sacked from your first job do you sir†¦.' ‘No he wants us to be a credit to him.'† The tone of the pupils her would be very calm, slightly intimidating as though they know they are in control but also very persuasive but this time they spoke in more of a friendly manner. On the other hand John would be speaking in an uncertain tone and seems to agree to the modus vivendi although he doesn't actually say anything which emphasises his powerlessness. The modus vivendi creates a vague sense of stability in the classroom as it brings about a situation in which the constant battle for power is ended for the time being. This is because it seems John has finally been defeated and the students have gained control. John admits defeat at this point and it is now that he is finally sees the truth in their confessions and begins to develop an idea of how cunning and clever the students are and how much the system has corrupted them. As a result of this he sees no point of arguing with them as they obviously don't lack determination. The situation changes once again when the Headmaster more or less sacks John. ‘†¦.that's the last thing I'd want you to think, but we always like to have Old Chantovians on the staff and as Grimwits available for the Easter term we really think we ought to take this opportunity to secure his services†¦.' The headmaster not only puts John out of a job, but crushes his high hopes of raising his teaching status by starting in a well known and supposedly successful public school. One characteristic that John does not lack is ambition. It is this that causes him to be irresolute at a time when discipline is needed as he doesn't want to spoil his chances of a permanent job. Getting sacked in turn brings about a new feeling of anger. In this new frame of mind it now seems to John that he has nothing to lose and this creates new possibilities for John. In scene 24 the tables turn, as John gains power and the students lose it. The students begin to realise that they can't hold anything against John and moreover the fact that he doesn't seem to care anymore. Now it is the students that begin to panic. When John refuses to teach the lesson, the students retaliate by trying to show that they don't need him and haven't lost anything. They try to prove how little his withdrawal affects them so attempt to continue with the lesson themselves. â€Å"‘And he's taking it out on us' ‘It's not fair' ‘Are we going to let him?' ‘No. We'll go on ahead without him. Cuthbun, you're the best at history you take us'† This attempt fails as their independent learning skills have not been developed, and soon there is chaos when they begin to bully Wittering, taking all their frustration out on him. This is where the writer shows that, although too much authority has disturbing consequences, totally removing it would be just as harmful because anarchy would be the result. The confession and revelation of Mr. Pelham's death plays an essential role throughout the play. Not only does it disclose what characters authoritarian teaching can create. It also shows the extent of Cooper's passionate views regarding authoritarian teaching. The play is about violence and authority, the questions posed by the play are- Does authority prevent violence, or does authority cause violence?

What Are the 7 Principles of Design

What Are the 7 Principles of Design SAT / ACT Prep Online Guides and Tips If you’re taking any of AP Art courses, like 2-D or 3-D studio art, you absolutely have to understand the core principles of design. That’s because the elements and principles of design are a foundational element of great art! In this article, we’re going to teach you everything you need to know about the seven principles of design, including: An overview of the principles of design An introduction to key concepts An in-depth look at each of the principles one-by-one Three top tips for incorporating these principles into your own work Let’s get started! What Are the Principles of Design? If you’ve ever played a sport, then you know that there are some fundamental rules that you have to follow if you want to be successful. For example, if you play soccer, then you know that one of the rules is that you have to kick the ball into the opposing team’s goal in order to score a point! While you don’t have to follow this rule- your team could just kick the ball to one another for 90 minutes- you’ll have a much better chance of winning if you do. The principles of design are a lot like the rules of a sport. That’s because the principles of design are the rules and principles that artists and designers use to create visual compositions. Artists use these principles to make sure whatever they’re making accurately and effectively delivers their intended message to their audience. 2Key Concepts: Visual Language and Design In order to understand the principles of design, you first have to have a handle on two key concepts: visual language and design in general. Visual language is the idea that we communicate through visual symbols. For example, take a look at the clothes you’re wearing. Do they have a logo on them, like the Nike â€Å"swoosh† or the Ralph Lauren â€Å"polo pony†? If they do, you’re participating in visual language! Visual language is the way that designers and artists communicate messages and meaning through their work. They can use things like colors, lines, and shapes to make you feel or think a certain way. And since this is the ultimate goal of design, it’s important to understand how visual language works! The second key concept is the definition of design itself. You probably hear the term thrown around a lot, whether it’s about the design of the newest Tesla car or the launch of a new designer clothing label. But when it comes to principles of design, the term â€Å"design† has a very specific definition. In this case, design is the process of selecting and organizing elements or components in order to fulfill a specific purpose. This purpose may be functional, aesthetic, or both! So when we talk about design in this article, we’re specifically talking about how design elements are used to support the artist’s ultimate goal, whether that’s marketing a product, telling a story, or creating the next great artistic masterpiece. What Are the Principles of Design Used For? Artists use the principles of design to make sure that the work they’re creating...well, works. For instance, let’s say a graphic designer is supposed to create a poster for a presidential candidate. It’s going to be really important for the designer to use the principles of design during their design process to ensure the finished poster is visually communicating the right message to potential voters. The same holds true for fine art, too. Artists paint, sculpt, and create in order to communicate with their viewers. Let’s say an artist is worried about how much Americans consume on a daily basis. That may become the subject of their work, and they’ll pay close attention to how their finished piece speaks to viewers about issues of capitalism. (A good example of how opinions on topics like consumerism and capitalism can be expressed through fine art is the painting â€Å"Landscape,† by American painter Mark Tansey.) On the flip side, these principles are also used to determine whether a piece of art is a success or failure. When a visual composition uses the principles of design well, it will succeed in fulfilling its purpose (whatever that purpose might be). But just because a work is successful doesn’t mean you have to like it. That’s because liking or disliking a visual piece involves your personal taste. The difference between the principles of design and taste is important. As an artist, it's important to separate your work from taste. This is true for many commercial artists, where their clients’ tastes might not reflect their own. Even fine artists need to be able to do this so that they aren’t conforming their art to others’ tastes. For a critic, the separation helps them make better judgements. While there’s no real objective way to critique art, the principles of design provide a kind of rubric for assessing whether a piece of art functions. It might make more sense to think of this in terms of baking. Let’s say you’re judging a cookie baking contest, and when you go to taste one cookie, it’s actually a small, round pizza. The baker argues that you should consider it a cookie: it’s small, flat, round, and baked in an oven. But just because the pizza lines up with the qualifications of a cookie in some ways, it’s missing some other important criteria: it’s not sweet, it’s not cake-like, and it’s certainly not dessert. At the end of the day, a pizza just isn’t a cookie. The seven principles of design work the same way. Critics can use them as a measuring stick for art. If the goal of art is to communicate a message, then the fundamentals of design give critics a way of checking whether an art piece does so effectively. For critics, the seven principles of design also help ensure they aren’t labeling works as â€Å"bad† just because they don’t suit their personal tastes, too. The 7 Principles of Design: Explained Now that you’re familiar with the ideas behind the principles of design, let's take a closer look at each of the seven principles. How an artist uses these elements is important to the overall quality and effectiveness of their work. One quick note: if you Google the principles of design, you’ll find lists that feature five, six, or even eleven principles! That’s because there’s not 100 percent consensus on what the fundamental principles of design are. So to create our list, we picked the principles that appeared the most often across the widest variety of sources. Ginevra de'Benci by Leonardo da Vinci Principle 1: Contrast Just like in literature, visual contrast happens when different elements of a piece are noticeably different from one another. When contrasting elements are juxtaposed, or place next to one another, it draws the viewer’s attention. One of the common ways artists do this is by using contrasting colors close to one another. (These are colors that appear on opposite sides of the color wheel from one another.) But this can also be done through the size or types of objects, too. Take a look at Leonardo da Vinci’s work, Ginevra de’ Benci, pictured above. Notice the contrast of the woman’s skin against the dark background of the trees. Da Vinci uses contrast to draw your eye to what he considers to be the most important part of the piece- the woman’s face. Jurassic Park/Universal Pictures Principle 2: Emphasis Emphasis is important for helping viewers see the most important part of a visual design. Oftentimes, we don’t notice emphasis when it’s done well...but it definitely stands out when it’s done poorly! For example, think about the billboards you see when you drive down the highway. The best ones put the most important information in big, bold letters, or use a related image to capture your attention. But when the type is too small or the images are too cluttered, the advertisement doesn’t work as well. The movie poster for Jurassic Park is a great example of emphasis. It puts the most important information front-and-center: from a glance, you know that title and opening date of the movie. But the prominent outline of a skeleton also gives you a pretty good idea of what the movie is going to be about. (Spoiler alert: it’s about dinosaurs!) It’s important to note that emphasis is closely linked to other principles of design. For example, the Jurassic Park poster uses contrast and space to create emphasis. Other posters, like this one for Gravity, use movement, space, and contrast to do the same thing. Principle 3: Pattern Pattern happens when an object, image, or symbol is uniformly repeated throughout a visual composition. Anything can be turned into a pattern, though some classic examples include intersecting lines, shapes, and spirals. Patterns can do many things for a design. It can set the tone for the piece, like if the background features a 70s mod pattern or a repeating image, like an animal. A pattern can also set the stage for other design elements, like contrast or emphasis. In the image above, you can see how the star pattern combines with contrast to reveal a patriotic star, which becomes the emphasis of the advertisement. Principle 4: Repetition In design, repetition is used to unify and strengthen a design. Unlike a pattern, where one thing is repeated consistently throughout a design, repetition is the repeated use of certain elements, like color, shape, or font. When repetition is used correctly, it creates consistency in a design. As a brand, Target Stores are famous for their use of repetition. They use color repetition to help viewers immediately associate an advertisement with their store. A good example of this is the advertisement above, which uses the repetition of colors and shapes (the concentric circles of the Target logo) to reiterate their brand. Starry Night by Vincent Van Gogh Principle 5: Movement It can seem strange to talk about movement when some visual compositions are still images. But movement as a principle of design is about the movement of a viewer’s eye across a work. Good art leads the viewer from one important element to the next. If a viewer’s eye tends to get stuck in one place, it’s a sign that some of the principles of design aren’t working quite right! Using movement as a part of your design process has an added benefit: it helps viewers feel connected to what they’re seeing. Starry Night by Vincent Van Gogh is an excellent example of movement in action. In this painting, the swirls of color in the sky carry the viewer’s gaze from left to right, which makes you feel like you’re experiencing the night breeze. But on a mechanical level, Van Gogh’s brush strokes create movement, too. The sweeping lines on the mountains, for example, help[ bring your eye to the village, and following the vertical lines on the plant in the foreground return your gaze back to the sky. Steve Jobs Tribute by Jonathan Mak Principle 6: Space In design, space refers to the area around different visual elements. There are two types of space: positive space and negative space. Positive space is the area that the subject of the composition occupies. If you go back to da Vinci’s portrait above, you’ll see that the woman occupies a lot of the portrait’s positive space. As a designer, you use positive space to display the most important elements of your design. On the other hand, negative space- which is sometimes called â€Å"white space†- is the space around objects! If you look back at the Jurassic Park poster, all of the black surrounding the central image and the other copy is a textbook example of negative space. Negative space can be tricky for designers since it seems empty, but it’s actually helping to create emphasis. It helps viewers quickly discern what’s important while also giving a design â€Å"room to breathe.† Positive and negative space work together to create emphasis and visual appeal. Check out the piece above by graphic designer Jonathan Mak, which he made as a memorial to Steve Jobs after his death. He plays with the negative space of the Apple logo, turning the normal bite mark into the profile of the company’s late founder. Principle 7: Balance Now it’s time to talk about the last (but perhaps most important) principle of design: balance. Every element in a visual composition carries weight. The more an element is emphasized, the heavier it is. A designer’s goal is to balance the weight of each object on the canvas in order to create a feeling of balance for the viewer. There are two ways to do this: through symmetrical balance and through asymmetrical balance. Symmetrical balance adds objects to both sides of the center of a work to create symmetry. You can think of this as balancing a set of old-timey scales. You have to add the same amount of weight to each side to keep them level! Asymmetrical balance happens when objects and elements aren’t spread evenly across the composition, but how they’re placed creates a sense of balance anyway. Oftentimes, asymmetrical balance helps create a sense of movement and draws your eye from one element to another. In the photo above, you can see asymmetrical balance at work. The hand and donut are in the bottom of the image, and there’s no identical image at the top! The balance here comes from the amount of negative space in the photo. By limiting the emphasized image to a small part of the picture, the photo maintains its balance. The 3 Best Tips for Using the Principles of Design So how can you use the principles of design in your own work? Here are our three top tips for using principles of design to take your art to the next level. Tip 1: Embrace Negative Space Like we mentioned earlier, it’s tempting to fill up every corner of a composition with something. After all, we often think of space as â€Å"wasted,† right? But remember: negative space is incredibly important to helping the more important elements of a work shine. A good way to do this is to follow the advice of Coco Chanel, the famous French fashion designer, who famously said: â€Å"Before you leave the house, look in the mirror and take one thing off.† Take a step back and look at your composition. Is there something you can take off, shrink, or move that will help create more balance and space in your work? Tip 2: Rethink the Axis of Symmetrical Balance When it comes to symmetrical balance, we sometimes think about it like a Rorschach test where the balance of an image is either left/right or top/bottom. But in fact, the axis of balance for a visual composition can bisect the image at any angle. Take a look at the picture above. The line of symmetry is on a diagonal from bottom right to top left. The image is still balanced, but the axis is tilted, which gives the image a lot more visual interest. It also comes across as more modern, too! Tip 3: Take a Step Back When you’re working on a composition, you’re normally pretty up close and personal with it. But that can sometimes skew your perspective of the piece as a whole. That’s why one of the best ways to see if a composition works is to view it from a distance. (This is especially true if your composition is meant to be viewed from a distance, like with a large painting or advertisement.) Backing away from the screen or canvas will blur the elements together and help you get a better sense of whether the contrast, movement, and balance of a piece communicates your message. What's Next? Are you looking for more AP classes to take before applying for college? Here’s a list of every AP class (and test!) But be careful: AP classes can be more challenging than their general education counterparts. Get the inside information on how hard AP classes really are so you can make sure you’re balancing a challenging schedule with making good grades. So what’s the benefit to taking AP courses? Well, most high schools in the United States add points to your final grade to create a weighted average. Learn more about weighted averages and how they affect things like your graduation rank and college admissions chances here.

How to avoid procrastinating and get writing - Emphasis

How to avoid procrastinating and get writing How to avoid procrastinating and get writing Remember last year: the pain of putting off that report day after day, finally bashing it out in a blind panic the night before it was due? Not only does this leave you a stress-addled mess, but it means your cobbled-together work wont represent the best you can actually do. It could even mean you miss out on business you really should have won. Why do we procrastinate? We procrastinate for several reasons. Feeling overwhelmed by the size of a project; feeling out of your depth; fear of failure (or even of success); perfectionism; other tasks distracting you: these may all be to blame. Ultimately, as Mark Forster points out in Do It Tomorrow and Other Secrets of Time Management, each of these reasons stems from our reactive mind viewing whatever it is we have to do as a threat (risking failure etc). By avoiding the work, we avoid the danger. Only temporarily of course. In reality, we all know that eventually we will be in a worse position. Stop the putting-off cycle These tricks can help you start as you mean to go on (willpower required): Lie to yourself. Procrastinators are practised self-deceivers (Ill just spend five minutes on Facebook; Ill get up at 5am tomorrow to get started; Im sure I can write the whole thing in one day). Put this skill to good use. Mark Forster recommends lying to ones own reactive brain to stop it from feeling threatened. Tell yourself: I wont start the proposal now; Ill just get out the brief. With the reactive mind thus comforted, you may find yourself carrying on without even realising. If not, just keep adjusting the lie to take you a bit further each time: I wont start writing yet; Ill just make a few notes Ill just make a spidergram of ideas and so on. Little and often. Set a time to start and stick to it. Then work in timed chunks start small if need be (say, ten or fifteen minutes) and work up. Youll find an amount of time thats best for you, but dont exceed an hour. Again, to break through panic, try telling yourself youll just work for five or ten minutes. Once those minutes have passed, youll probably be in your stride already. If not, take two or three minutes off, and start again. Increase each work session by a few minutes. Take breaks. When the time is up for one session, stop even if you are mid-sentence. Knowing a break is coming can perk you up; taking the break allows you to re-focus, letting you come back refreshed and more productive than if you drag on for hours at a time. A quick change of scene even a good stretch can do wonders here. Set goals, but keep them realistic. A daily to-do list is best theres nothing like ticking off completed items (however seemingly small) for keeping you motivated to carry on. Of course, most resolutions are fated to be thrown out after a single slip-up. But to give in to discouragement after one lost day and start procrastinating all over again would be the equivalent of giving in to one slice of cheesecake, then despairingly deciding you may as well eat everything in the fridge. Youre left feeling queasy, angry and with considerably less to show for it. You deserve better.