Early user interface (UI) practitioners were trained in cognitive psychology, from which UI design rules were based. But as the field evolves, designers enter the field from many disciplines. ...Practitioners today have enough experience in UI design that they have been exposed to design rules, but it is essential that they understand the psychology behind the rules in order to effectively apply them. In Designing with the Mind in Mind, Jeff Johnson, author of the best selling GUI Bloopers, provides designers with just enough background in perceptual and cognitive psychology that UI design guidelines make intuitive sense rather than being just a list of rules to follow. * The first practical, all-in-one source for practitioners on user interface design rules and why, when and how to apply them * Provides just enough background into the reasoning behind interface design rules that practitioners can make informed decisions in every project * Gives practitioners the insight they need to make educated design decisions when confronted with tradeoffs, including competing design rules, time constrictions, or limited resources
In the Grand Duchy of Lithuania, the main language was Ruthenian until 1697, when the main language became Polish. In Lithuanian historiography, the most developed researches concern the mental, ...ideological and social issues. These issues are discussed in the context of the first printed book, the first Lithuanian Statute, on the conduct of the first Lithuanian book, the first Lithuanian history problems. Ruthenian cursive is best examined in texts from the 16th century, in the First Lithuanian Statute and Lithuanian Metrics context. However, there are almost no studies about the Ruthenian cursive in 17th century. We haven’t investigated the individual pattern types or analyzed the letter graphics change, so, in general, the seventeenth century Ruthenian cursive is little explored. Therefore, this research focused on the initials and capital letters used in the Ruthenian cursive in the seventeenth century. We have chosen the most developed books of courts that have operated in the GDL in order to examine the changes of initials and capital letters during the 17th century. However, this article researches only the ethnographic territory of Lithuania, because of the availability of the books in the archive. The research proved that the graphics of capital letters changed very slowly and the difference is seen only from the middle of the seventeenth century. Initials were used to decorate the text very often and they depended on the individual scribe’s hand. The most frequently used initials were Г, Н, Л, П and Ѡ. In the seventeenth century, the most often used capital letters were А, В, К, Л, М, Н, П, Т, Ѡ. As the caps graphics changing gradually, the Latin alphabet options of M and N appeared in the 5th decade. Throughout the seventeenth century, letters В, Н and Ѡ have been changing the most, while the least changed letters were А, Л, М, П, Т.
"This book not only gives current methods for simulating cloth's look and behavior, it also provides a solid introduction to the construction and characteristics of cloth and even offers helpful ...hints on character costuming." "With sections on woven and knit fabrics, behavior modeling, dynamic simulation, cloth appearance models, and current techniques and applications of cloth animation, readers will have in this single volume a comprehensive guide to cloth modeling and animation."
Edited in collaboration with FoLLI, the Association of Logic, Language and Information, this book constitutes the refereed proceedings of the 7th International Conference on Logical Aspects of ...Computational Linguistics, LACL 2012, held in Nantes, France, in July 2012.
The 15 revised full papers presented together with 2 invited talks were carefully reviewed and selected from 24 submissions. The papers are organized in topical sections on logical foundation of syntactic formalisms, logics for semantics of lexical items, sentences, discourse and dialog, applications of these models to natural language processing, type theoretic, proof theoretic, model theoretic and other logically based formal methods for describing natural language syntax, semantics and pragmatics, as well as the implementation of natural language processing software relying on such methods.
U Pomorskom i povijesnom muzeju Hrvatskog primorja Rijeka 1987. godine formirana je Zbirka starih majstora koja sadrži oko sto trideset slika. Sačinjena je uglavnom od radova što su ih sakupljali ...članovi uglednih riječkih obitelji tijekom 19. i početkom 20. stoljeća, a manji je dio u zbirku pristigao iz riječkih sakralnih objekata. Riječ je o djelima relativno skromnih umjetničkih dosega, a već se inicijalnim istraživanjem utvrdilo da su neke od slika nastale prema grafičkim predlošcima. Kako sustavno istraživanje predložaka za djela iz Zbirke starih majstora Pomorskog i povijesnog muzeja Hrvatskog primorja Rijeka do sada nije bilo provedeno, iznesen je niz upitnih i problematičnih datacija i atribucija. Kada je riječ o slikama nastalim tijekom 17. stoljeća, utvrđeni su predlošci za prikaze Navještenja, Bogorodice od Ružarija, Svadbe u Kani Galilejskoj, Poklonstva pastira te Bičevanja Krista. Navještenje je inspirirano grafikom Giovannija Jacopa Caraglia (Verona, o. 1505. – Krakov, 1565.) ili nekom njezinom kasnijom derivacijom, dok je riječka Bogorodica od Ružarija nastala kopiranjem otiska grafike Domenica Marije Canutija (Bologna, 1626. – 1684.). Svadba u Kani Galilejskoj napravljena je pak prema Vannijevoj (Firenca/Pisa, 1599. - Firenca, 1660.) grafici iz 1637. godine ili jednoj od njezinih kasnijih derivacija, što su urezane prema famoznoj Veroneseovoj (Verona, 1528. – Venecija, 1588.) slici koja je danas izložena u Louvreu, a Poklonstvo pastira nastalo je prema bakrorezu Jana (I) Sadelera (Bruxelles, 1550. – Venecija, 1600.). Slika Bičevanje Krista nastala je kombinacijom istoimenog grafičkog lista i onog s prikazom Izrugivanja Krista. Obje su ove grafike djelo Jana (I) Sadelera, odnosno njegova kopista.
Lata 20. XX w. na świecie to czas, kiedy rodzi się potrzeba stworzenia nowych założeń projektowania graficznego. Futurystyczna literatura i poezja wymuszają konieczność wykształcenia nowego układu ...typograficznego. Utylitaryzm sztuki, „logika maszyn”, funkcjonalizm, dialog między sztuką a współczesnością, standaryzacja czy mechanizacja – to hasła, wokół których prowadzona jest międzynarodowa dyskusja. W Rosji do głosu dochodzą przedstawiciele konstruktywizmu i suprematyzmu, w Niemczech rozwijana jest teoria Bauhausu i nowej typografii. Myśli te trafiają na podatny grunt w Polsce, gdzie koncepcja unizmu, „laboratoryjnej czystości” w zakresie artystycznych eksperymentów, a także typografii funkcjonalnej są jednymi z głównych założeń sztuki użytkowej, w tym plakatu. Lata 20. XX w. to także czas, kiedy dochodzi do krytyki nacjonalistycznych tendencji w sztuce, a ideałem człowieka staje się inżynier, który sam tworzy i dla którego tworzona jest sztuka. W Polsce myśli te żywo rozwijane są w środowisku osób skupionych wokół takich nazwisk, jak: Henryk Berlewi, Władysław Strzemiński czy Mieczysław Szczuka. To ich projekty typograficzne (m.in. Szósta, szósta z 1926 r. Strzemińskiego, okładka almanachu „Albatros” z 1923 r., plakaty: Czy czytałeś już ostatni numer miesięcznika „Droga” z 1922/1924 r., Mały grajek z 1924 r., plakat wystawy w salonie automobilowym Austro – Daimler z 1924 r. Berlewiego, plakat do sztuki Hamlet z 1925 r. i sztuki Amnestji dla więźniów politycznych z 1926 r. Szczuki) stają się przykładem oraz wzorem plastycznym do naśladowania przez ówcześnie projektujących.Przedmiotem badań prezentowanych w niniejszym tekście jest poznanie wiodących nazwisk w dziedzinie polskiej typografii funkcjonalnej lat 20. XX w., a także ich poglądów oraz teorii na temat projektowania graficznego. Celem zaś artykułu jest zaprezentowanie wybranych projektów typograficznych, które w bogatej literaturze przedmiotu są pomijane (np. twórczość Mieczysława Szczuki) lub zastępowane innymi dziełami, a często stanowią doskonały przykład ilustrujący zasady i reguły projektowania w ówczesnym duchu nowej typografii.
The successful cooperation of the Varaždin City Museum and the Department of Paper and Leather of the Croatian Conservation Institute has resulted in a large number of restored prints rescued from ...further decay. Each of them can now be presented and shown as deserved. From year to year, approximately ten prints are restored annually according to a systematic plan. This is an extremely valuable and important cooperation for the Varaždin City Museum. The paper (Part 1) deals with a brief overview of the Collection of paintings, sculptures, prints and drawings the significant part of which are the prints. The presentation and the description of the most important selected prints that make up the basis of the highly valuable prints in the Museum are described. Within the years of a successful cooperation between the Department for Paper and Leather and the Varaždin City Museum a large number of significant artworks on paper have been restored. Two Japanese woodblock prints from the 18th century are the highlights. The author of these woodblocks is the Japanese master Eishi Hosoda (1756-1829).
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This book presents a substantial description of the principles and applications of digital holography. The first part of the book deals with mathematical basics and the linear filtering theory ...necessary to approach the topic. The next part describes the fundamentals of diffraction theory and exhaustively details the numerical computation of diffracted fields using FFT algorithms. A thorough presentation of the principles of holography and digital holography, including digital color holography, is proposed in the third part. A special section is devoted to the algorithms and methods for the numerical reconstruction of holograms. There is also a chapter devoted to digital holographic interferometry with applications in holographic microscopy, quantitative phase contrast imaging, multidimensional deformation investigations, surface shape measurements, fluid mechanics, refractive index investigations, synthetic aperture imaging and information encrypting. Keys so as to understand the differences between digital holography and speckle interferometry and examples of software for hologram reconstructions are also treated in brief.Contents1. Mathematical Prerequisites. 2. The Scalar Theory of Diffraction. 3. Calculating Diffraction by Fast Fourier Transform. 4. Fundamentals of Holography. 5. Digital Off-Axis Fresnel Holography. 6. Reconstructing Wavefronts Propagated through an Optical System. 7. Digital Holographic Interferometry and Its Applications. Appendix. Examples of Digital Hologram Reconstruction Programs
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