Tuesday, November 13, 2007
Gloryhole Meeting Long Island
Mint is a design studio formed by Andrea Blanche, Paulina Fuenzalida, Marcelo Moya and Jose Pinto. This is our animation reel and promptly is our website. Health
{I}!
Remove Write Protected Micro Sdhc Without Adapter
Dichotomy of objects Resizor
I do not mean the objects themselves, but to use are given and more importantly, the identity that represent or are chosen to represent. The objects are targets in passing what they are: "I'm an iPod, I'm rectangular, with rounded edges, I'm white, I have a half metal, a touch wheel and a screen , however, are the subject of that charge these objects from the always beleaguered subjectivity, which allows anything can be possible and that is the best way to defend fome {} while ending a conversation, where an iPod remains a music player and go on to become, and make his own way part of an elite style, coolness and good taste.
Continue Reading ...
I do not mean the objects themselves, but to use are given and more importantly, the identity that represent or are chosen to represent. The objects are targets in passing what they are: "I'm an iPod, I'm rectangular, with rounded edges, I'm white, I have a half metal, a touch wheel and a screen , however, are the subject of that charge these objects from the always beleaguered subjectivity, which allows anything can be possible and that is the best way to defend fome {} while ending a conversation, where an iPod remains a music player and go on to become, and make his own way part of an elite style, coolness and good taste. Subjects we
We object to represent us and express our identity from our shoes to our music player. These objects can be, in some cases, the same for different subjects and these objects and cease to be and the same thing. A good example is the vintage clothing, where grandpa pants does not mean the same thing for the young grandpa lolo that it acquired or transmitted the same if you use one or the other. How strange it is that an object remains the same and both changed so much.
Another dichotomy, in my view, is given in the categories proposed by David Readhead on "Products of the time," said Juan Guillermo Tejeda interpreted in "Critical Dictionary del Diseño" . Estas categorías son las de Básico y Más.
Básico se refiere a lo simple y esencial de los objetos, donde estos se sacuden todo lo sobrante y se presentan como sintetizados en su función. Es "el minimalismo, la ausencia de sofisticaciones derivadas o de detalle", en un mundo que bombardea información constantemente y en todas direciones.
Más se refiere a lo contrario: a la "superabundancia", el exceso, la acumulación de objetos, la veloz obsolescencia de los mismos, la vertiginosa cadena de consumismo, los desechos, etc. Bruno Munari, en su texto "Como Nacen Los Objetos" refers to something similar: Luxury.
is curious, at least for me, seeing as collections of objects behave in different socioeconomic groups. While the sophistication points to sobriety, minimalist rooms spacious and air-visual, limited palette, control over library when choosing to integrate it and that things things, etc., the most popular plays it by the color, it charged, the mixture of trends and styles, materials, erratic distribution, etc. It is one thing to see Alonso de Cordova store and a bazaar in Meiggs.
What causes this? causing a higher class chooses the basics while one opts for the most popular? I think it has to do with another status appear to show off by excessive and meaningless, and a lack of aesthetic sense can be understood a bit by Avant-garde and Kitsch definition gives Umberto Eco in Apocalíticos and Embedded where class Vanguard High-generated {all} that order of things while being used, decanted into the lower classes, which was reproduced and used without defined criteria, which transformed this object was once an object Vanguard and Kitsch bad taste. Example: laser pointers. My dad was a dentist and professor at Valpo. The year 98 went to Europe and bought a laser pointer at a store X, because I found it very useful for teaching and exhibitions. It cost about $ 25,000, or so cheap it was. Since 99 years I remember going to the Festival of Viña and see one of the first manifestations of the classic laser in the eye of Vodanovic poor. Laser pointers sold in the gutter to $ 1,500.
This is a course required for the production of new objects and creative, because when the lead becomes kitsch and the lower classes access to technology that previously handled only the elite, the lower class began to "climb" in social classes and as the elite do not like sharing his step, then generate new products and breakthrough technologies that lower class away until it becomes kitsch art and the cycle start again. So next time you go to San Diego Chinese mall, be charitable, buy some gift of Easter and collaborate well with the next Mac has multi-touch screen and operates on the basis of proto-culture.
Continue Reading ...
I do not mean the objects themselves, but to use are given and more importantly, the identity that represent or are chosen to represent. The objects are targets in passing what they are: "I'm an iPod, I'm rectangular, with rounded edges, I'm white, I have a half metal, a touch wheel and a screen , however, are the subject of that charge these objects from the always beleaguered subjectivity, which allows anything can be possible and that is the best way to defend fome {} while ending a conversation, where an iPod remains a music player and go on to become, and make his own way part of an elite style, coolness and good taste. Subjects we
We object to represent us and express our identity from our shoes to our music player. These objects can be, in some cases, the same for different subjects and these objects and cease to be and the same thing. A good example is the vintage clothing, where grandpa pants does not mean the same thing for the young grandpa lolo that it acquired or transmitted the same if you use one or the other. How strange it is that an object remains the same and both changed so much.
Another dichotomy, in my view, is given in the categories proposed by David Readhead on "Products of the time," said Juan Guillermo Tejeda interpreted in "Critical Dictionary del Diseño" . Estas categorías son las de Básico y Más.
Básico se refiere a lo simple y esencial de los objetos, donde estos se sacuden todo lo sobrante y se presentan como sintetizados en su función. Es "el minimalismo, la ausencia de sofisticaciones derivadas o de detalle", en un mundo que bombardea información constantemente y en todas direciones.
Más se refiere a lo contrario: a la "superabundancia", el exceso, la acumulación de objetos, la veloz obsolescencia de los mismos, la vertiginosa cadena de consumismo, los desechos, etc. Bruno Munari, en su texto "Como Nacen Los Objetos" refers to something similar: Luxury.
"Luxury is the manifestation of the wealth they want to impress
who is poor. It is the triumph of appearance over substance
about what really matters. The estate is fiction, is the improper use of costly materials and
functions that do not improve. The model is no longer the luxury and wealth as previously
. Luxury is not a design problem. "
is curious, at least for me, seeing as collections of objects behave in different socioeconomic groups. While the sophistication points to sobriety, minimalist rooms spacious and air-visual, limited palette, control over library when choosing to integrate it and that things things, etc., the most popular plays it by the color, it charged, the mixture of trends and styles, materials, erratic distribution, etc. It is one thing to see Alonso de Cordova store and a bazaar in Meiggs.
What causes this? causing a higher class chooses the basics while one opts for the most popular? I think it has to do with another status appear to show off by excessive and meaningless, and a lack of aesthetic sense can be understood a bit by Avant-garde and Kitsch definition gives Umberto Eco in Apocalíticos and Embedded where class Vanguard High-generated {all} that order of things while being used, decanted into the lower classes, which was reproduced and used without defined criteria, which transformed this object was once an object Vanguard and Kitsch bad taste. Example: laser pointers. My dad was a dentist and professor at Valpo. The year 98 went to Europe and bought a laser pointer at a store X, because I found it very useful for teaching and exhibitions. It cost about $ 25,000, or so cheap it was. Since 99 years I remember going to the Festival of Viña and see one of the first manifestations of the classic laser in the eye of Vodanovic poor. Laser pointers sold in the gutter to $ 1,500.
This is a course required for the production of new objects and creative, because when the lead becomes kitsch and the lower classes access to technology that previously handled only the elite, the lower class began to "climb" in social classes and as the elite do not like sharing his step, then generate new products and breakthrough technologies that lower class away until it becomes kitsch art and the cycle start again. So next time you go to San Diego Chinese mall, be charitable, buy some gift of Easter and collaborate well with the next Mac has multi-touch screen and operates on the basis of proto-culture.
Tuesday, October 23, 2007
Calories In Smithfield Bbq
In Siggraph this year, scientists Shai Avidan and Ariel Shamir present technology called "Seam Carving for content aware image resizing" , which translates to something like "resizing of images in terms context ". What makes this wonder? to adapt to different media images display without having to croped or scale, keeping the important elements of the image unchanged. We will be much clearer viewing this video:
Best of all, incredible as this seems, it really is technology that is available NOW. Via Stock Xchange I find that good scientists have been recruited for the future Adobe Photoshop CS4 and importantly, there is a stand-alone application } {Windows-only and other Web application they can use FREE from now!
'm a Mac user, so I could not try the downloadable version, but I was playing around with the web application and I must say that their results are pretty decent:
Resizing:
_Original
_Resize 1
2
_Resize
Clear _Original
_Borrado
Photos with CC property and Chrissam42 Hounddiggity
see, the latter was a the diagonal bit odd, but nothing that a good PS can not solve. Try it!
Friday, October 12, 2007
Low Carb Granola Recipe Diabetic
Another job for the Art Direction Workshop. That cost more than all, however simple it seems {to the whole class, not just me. And the prof Tejeda}.
The project consists of ... setting a table. Worry the "collection" of items to be on this, the table itself, lighting, draping cloth and available {}, location, floor work, composition and color gamut.
In the nebula {how there were several corrections, all unsuccessful}, I chose to do something woolly and cute, nothing more. Almost a facility. So I took the table and treated her like a piece of art like a painting, and put it on the wall.
This is the result.
Project in conjunction with Carolina Garcia.
Ps: it is difficult to stick the jump from 2D to 3D!
Thursday, September 13, 2007
Borrow Account For Doujin Moe
Mesa Cultural Center Caramel Art direichtion
For this exercise art direction, I analyzed the Mount Caramel Cultural Center (CCMC) located in Bellavista. The first approach was in no mood observer and analyst, so they rode their flags and watched its entirety, searching for a common thread. After a while, I account certain criteria that govern and order all the space as a whole. The divide by 5 points: corporateness color, soil texture, plates and vignettes, Lighting & Misc.
1. Corporateness color: red, green and white.
This color palette is not random. It is certainly the guideline of colors that gives the most striking of the enclosure, the Church is at the bottom.
Continue Reading ...
The first thing is obvious when one visits the CCMC is the obvious predominance of red in its structure. Virtually all exterior walls are painted with red, which is made timbre on a cloudy day like today (I took the pictures). It is the main color because it brings out the location to the context of the adjoining town, because strikes the viewer.
also are red fleece vests and uniforms used by makers of CCMC and the roof of the exhibition halls.
The general landscape is dotted with green, which is complementary to red. This is found in several different shades, unlike the red uniform of the CCMC macro level, but still receives a conscious use of color: the zinc roof of the church located at the bottom of the CCMC is a faded green, faded by the sun, as are the gates of the entrance to the site, another green, darker and care is present on the benches scattered around the venue and also the lanterns that are located along corridor, and a third green is provided by nature at the scene.
In my humble opinion, this choice of color is beyond the red supplementary to the immovable presence of Cerro San Cristobal in the background landscape, after the Church. It is a way of maintaining the coherence of the overall context of the city.
The target acts as a break between the two colors. Is present on window frames, gutters, doors, etc., But does not hinder the overall color perception: people leave there remembering the red and green, not white. As I said, it acts as a break between colors. Where is itself takes center stage inside the exhibition halls as being a much more neutral color than red and green, is used on the walls on which rest the works shown.
2. Soil texture:
Visual and tactile, demarcate various areas of traffic within the CCMC.
The first texture is the tile of the village, which is found when it is still in "street" outside the CCMC. Upon admission, the texture changes and the context: one is no longer outside on the street, but you have entered. This texture is cobblestone, and extends around the central courtyard, which acts as parking.
to the sides of the enclosure is a rise of ground red tile roof, extending to the end of CCMC through a long corridor. These tiles "come" also in the main exhibition hall, inviting them to enter because there is no noticeable "change" that tells the viewer that is entering a different area, as in the entry.
In another exhibition hall, the extura is parquet floor. In my opinion this case to distinguish it in the hierarchy regarding the previous flag, but may be only for practical reasons.
front of the church are other 3 textures: gray tile with a design op-art type (which is definitely part of the interior of the church ground), tile gray concrete material with a design of parallel lines at different depths and a metal plate such as "diamond plate" located almost reach the steps leading back to the cobbles. As seen, 5 different textures for 5 different codes stand between the visitor from entering until it reaches the end of the CCMC.
3. Plates and vignettes:
Possibly the point that awareness of the art direction had the charge to implement them. There are 3 plates on the outside of the 3 main exhibition halls, all the same style.
vignettes praises the works for two exhibitions in progress, also share their views, but in the main hall there are bullets explanatory found no counterpart in the other flag.
4. Lighting: Interior
: the lighting of the exhibition halls is through low-watt halogen lamps, hanging from the ceiling on some tracks. Focus towards the works, so that they can be better observed. Is homogeneous on these and less on areas that do not require much attention, such as sections of walls and corners are empty. Are present in all the halls, hanging from the same height.
Exterior: There are three types Lighting: lamps and decorative atmosphere. The first relate to the built-green bluffs along the corridor side of the CCMC. They have an ancient style and are all green. Although at the time of analysis were off, it is clear which function to illuminate the path.
Outbreaks of atmosphere are intended to highlight certain areas of the CCMC, the facade of the Church. These lamps are located on the ground and facing up, in a kind of shots. One can imagine that to be turned on, dramatize the church walls, giving the striking presence that delivers day flashy red that covers it.
Another focus of atmosphere is one of the input trees. This is covered by a traditional amber filter, which stresses the tree but does not make character.
5. Miscellaneous:
Finally, we find elements that do not fit at all the general context of CCMC, but they are in tune to play roles such as a general atmosphere caruaje old metal and wood, high wood ashtrays, a commemorative plaque of El Mercurio newspaper and a plaque that tells the story of the Cultural Center.
For this exercise art direction, I analyzed the Mount Caramel Cultural Center (CCMC) located in Bellavista. The first approach was in no mood observer and analyst, so they rode their flags and watched its entirety, searching for a common thread. After a while, I account certain criteria that govern and order all the space as a whole. The divide by 5 points: corporateness color, soil texture, plates and vignettes, Lighting & Misc.
1. Corporateness color: red, green and white.
This color palette is not random. It is certainly the guideline of colors that gives the most striking of the enclosure, the Church is at the bottom.
Continue Reading ...
The first thing is obvious when one visits the CCMC is the obvious predominance of red in its structure. Virtually all exterior walls are painted with red, which is made timbre on a cloudy day like today (I took the pictures). It is the main color because it brings out the location to the context of the adjoining town, because strikes the viewer.
also are red fleece vests and uniforms used by makers of CCMC and the roof of the exhibition halls.
The general landscape is dotted with green, which is complementary to red. This is found in several different shades, unlike the red uniform of the CCMC macro level, but still receives a conscious use of color: the zinc roof of the church located at the bottom of the CCMC is a faded green, faded by the sun, as are the gates of the entrance to the site, another green, darker and care is present on the benches scattered around the venue and also the lanterns that are located along corridor, and a third green is provided by nature at the scene.
In my humble opinion, this choice of color is beyond the red supplementary to the immovable presence of Cerro San Cristobal in the background landscape, after the Church. It is a way of maintaining the coherence of the overall context of the city.
The target acts as a break between the two colors. Is present on window frames, gutters, doors, etc., But does not hinder the overall color perception: people leave there remembering the red and green, not white. As I said, it acts as a break between colors. Where is itself takes center stage inside the exhibition halls as being a much more neutral color than red and green, is used on the walls on which rest the works shown.
2. Soil texture:
Visual and tactile, demarcate various areas of traffic within the CCMC.
The first texture is the tile of the village, which is found when it is still in "street" outside the CCMC. Upon admission, the texture changes and the context: one is no longer outside on the street, but you have entered. This texture is cobblestone, and extends around the central courtyard, which acts as parking.
to the sides of the enclosure is a rise of ground red tile roof, extending to the end of CCMC through a long corridor. These tiles "come" also in the main exhibition hall, inviting them to enter because there is no noticeable "change" that tells the viewer that is entering a different area, as in the entry.
In another exhibition hall, the extura is parquet floor. In my opinion this case to distinguish it in the hierarchy regarding the previous flag, but may be only for practical reasons.
front of the church are other 3 textures: gray tile with a design op-art type (which is definitely part of the interior of the church ground), tile gray concrete material with a design of parallel lines at different depths and a metal plate such as "diamond plate" located almost reach the steps leading back to the cobbles. As seen, 5 different textures for 5 different codes stand between the visitor from entering until it reaches the end of the CCMC.
3. Plates and vignettes:
Possibly the point that awareness of the art direction had the charge to implement them. There are 3 plates on the outside of the 3 main exhibition halls, all the same style.
vignettes praises the works for two exhibitions in progress, also share their views, but in the main hall there are bullets explanatory found no counterpart in the other flag.
4. Lighting: Interior
: the lighting of the exhibition halls is through low-watt halogen lamps, hanging from the ceiling on some tracks. Focus towards the works, so that they can be better observed. Is homogeneous on these and less on areas that do not require much attention, such as sections of walls and corners are empty. Are present in all the halls, hanging from the same height.
Exterior: There are three types Lighting: lamps and decorative atmosphere. The first relate to the built-green bluffs along the corridor side of the CCMC. They have an ancient style and are all green. Although at the time of analysis were off, it is clear which function to illuminate the path.
Outbreaks of atmosphere are intended to highlight certain areas of the CCMC, the facade of the Church. These lamps are located on the ground and facing up, in a kind of shots. One can imagine that to be turned on, dramatize the church walls, giving the striking presence that delivers day flashy red that covers it.
Another focus of atmosphere is one of the input trees. This is covered by a traditional amber filter, which stresses the tree but does not make character.
5. Miscellaneous:
Finally, we find elements that do not fit at all the general context of CCMC, but they are in tune to play roles such as a general atmosphere caruaje old metal and wood, high wood ashtrays, a commemorative plaque of El Mercurio newspaper and a plaque that tells the story of the Cultural Center.
Friday, September 7, 2007
How To Make Up Your Name For Wrestling
mgz
Mangrazzo MGZ} { Magazine is a magazine reels { parties, partying, parranda for international colleagues}, which we did with my friends, comrades and colleagues Marcia Alberto, José Pinto and Jordi Casanueva for Art Direction Workshop at the University of Chile.
Grace is that the magazine that each issue should fully utilize a sheet of 60x80 cm, we could not use any compositional element {read fonts, images, text} if we had no licenses, permits and rights or the charges for art direction, typography and address content editor had to be managed separately to achieve a cohesive and coherent, although obviously we were all around ..
All content is produced by us, the images were taken and / or produced well for us and the fonts are free to use, except in two parts where typography graphic was modified to make it different from the original and power use.
graphic piece {personal} MGZ
can see the full review of ways: WEB VERSION
DOWNLOADABLE PDF 3.2MB} {
Pd: the contest moved from the free pass for the 1st week of October! 
Mangrazzo MGZ} { Magazine is a magazine reels { parties, partying, parranda for international colleagues}, which we did with my friends, comrades and colleagues Marcia Alberto, José Pinto and Jordi Casanueva for Art Direction Workshop at the University of Chile.
Grace is that the magazine that each issue should fully utilize a sheet of 60x80 cm, we could not use any compositional element {read fonts, images, text} if we had no licenses, permits and rights or the charges for art direction, typography and address content editor had to be managed separately to achieve a cohesive and coherent, although obviously we were all around ..
All content is produced by us, the images were taken and / or produced well for us and the fonts are free to use, except in two parts where typography graphic was modified to make it different from the original and power use.
graphic piece {personal} MGZ
can see the full review of ways: WEB VERSION
DOWNLOADABLE PDF 3.2MB} {
Pd: the contest moved from the free pass for the 1st week of October!
Thursday, August 30, 2007
Marilyn Monroe Shoeer
I began this paper with the following idea: "according to the text Speer. Hitler was indeed his own art director, and the rest of the crew, as it were their personal assistants Speer, people he rapier selected as the most suitable for them to build their opulent image and wonderful, necessary to conquer the world. "I imagined this was something like Beethoven articulating its staff empty spots, thinking how it would sound the Ninth when he was finished, and as beginning with a warning and then In Crescent decrease and go up to the climax of his work, as Speer was Hitler's office and all the way preceded him.
But that thought Speer, Hitler did not, so he could not be the art director.
Nor Speer, because he was the architect.
Hitler was the director , Goebbels was the production designer Speer was set designer and the customer was the German people.
But still do not know who is the director of art.
As director asks Hitler to Speer a daunting task and virtually impossible, and immediately let him work in peace. Why? because I trusted him. It was no secret the special treatment of Hitler to Speer, condescending and comprehensive, collaborative and attentive, while Speer treated him with contempt and disdain, something not allowed Goebbels himself. Why was that? Speer because, not being the great architect of his time (he was a famous rivalry with Hermann Giesler that significantly exceeded the talent and creativity), had the profile today Wiki Directions Art raises the requirements to become art director
"Speer The best quality was his innate organizing ability, his strong will to achieve goals and his special talent by statistics. "
The truth is that since coming to the end of the paper looks good on me is not yet clear who was the art director of the Third Reich. I tend to think it was Goebbels, but I have trouble sizing how he could coordinate all aspects of the image of Hitler to be as articulate in a coherent ... How do you achieve both Speer influence of this, one of the greatest hits his career, to build a balcony in the Foreign Ministry in Berlin? It was just a coincidence that today rightly interpreted as intended or it was all carefully scheduled and calculated during the Third Reich? And who coordinated? Because if the answer is Hitler, at least I find it chilling.
Finally, something else to think about: the great characters of history have always left behind large physical works to be remembered:
Ramses made great buildings, including the largest temple in rock drilling, Abu Simbel, a series of Pharaohs built the pyramids, the Romans left temples, roads, aqueducts, Alexander the Great built Alexandria, the lighthouse and the Library, the Qin and Ming dynasties left behind the Great Wall of China, Napoleon left arches, buildings, civil code, Hitler and his team did their thing ... What great empires built work today to be remembered?
Pd: the paper I have done more dispersed.
Tuesday, August 28, 2007
Laundry Disneyland Paris
August 1916 Type
photoshoot for Art Direction Workshop of FAU.
Model: Pamela Blanche
art direction, photography and retouching: Marcelo Moya and Oscar Scheihing
Lighting Assistant: José Pinto
Makeup: Paulina Fuenzalida
We occupy a Canon SLR FT {} I love him with rolls of Fuji Superia 400 and a Canon PowerShot A85 Andreita {thanks to both!}. The have digital retouching, but do not touch any reflex: present the same as we received the laboratory.
used to illuminate two 500W halogen lamps.
To see more and more visit: August 1916 Flickr 
photoshoot for Art Direction Workshop of FAU.
Model: Pamela Blanche
art direction, photography and retouching: Marcelo Moya and Oscar Scheihing
Lighting Assistant: José Pinto
Makeup: Paulina Fuenzalida
We occupy a Canon SLR FT {} I love him with rolls of Fuji Superia 400 and a Canon PowerShot A85 Andreita {thanks to both!}. The have digital retouching, but do not touch any reflex: present the same as we received the laboratory.
used to illuminate two 500W halogen lamps.
To see more and more visit: August 1916 Flickr
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