Prints and Prints making

From the 1860s to the end of the century, the Japanese print exerted an enormous influence on the art and artists of the time. According to tradition, the Parisian artist Félix Braquemond received a set of porcelain from Japan and found that the plates had been wrapped with the prints of Hokusai. Braquemond enthusiastically showed the prints to his impressionist artist friends, who were intrigued by their flat, bold, asymmetrical composition. The lithographic scenes by Edgar Degas of women bathing and dressing are reminiscent of the Japanese style. Henri de Toulouse-Lautrec was perhaps the most striking and original exponent of japonisme. Employing the subtle to brilliant coloration and the cropping of images characteristic of Japanese prints, he designed posters that capture the essence of charm and elegance. Through the influence of the poster artist Jules Chéret, color lithography grew in popularity. The beautiful color lithographs of Pierre Bonnard and Édouard Vuillard portray Parisian scenes as well as the intimacies of family life. Along with Chéret's work, that of Théophile Steinlen and Toulouse-Lautrec made posters powerful mediums for advertising. The Czech artist Alphonse Mucha, in his stylish posters, emphasized the sensuous line and the decorative quality that was characteristic of the turn-of-the-century art nouveau movement. The passionate and masterly Norwegian artist Edvard Munch created woodcuts and lithographs marked by powerful, highly personal imagery. His women are often lush and sensuous, while other images, including his men, are fraught with anxieties and inner tension.

Three-dimensional image

The development of the Polaroid system of filming by American inventor Edwin Herbert Land made color 3-D movies a reality. Films made using this method are shot with two cameras or a special camera with two lenses. In the theater, the two films are projected simultaneously. A polarizing filter in front of the left projector lens orients random light waves into one plane, while a different filter in front of the right projector lens orients light waves into a perpendicular plane. Filmgoers wear glasses with gray polarizing lenses that orient light waves in the same way as the filters on the projectors. This causes the viewer’s left eye to see only the image from the left projector and the viewer’s right eye to see only the image from the right projector. The brain receives these two separate images and fuses them into one 3-D image. The first polarized film was demonstrated in 1939 at the New York World’s Fair. In the 1950s, attendance at polarized 3-D movies soared. Between 1952 and 1955, over 110 features, shorts, and cartoons were produced in 3-D. These included ; The classics House of Wax (1953) It Came From Outer Space (1953) Kiss Me, Kate (1953) Hondo (1953) Creature from the Black Lagoon (1954) Revenge of the Creature (1955). The 1950s also marked a high point for 3-D still images. In addition to films, 3-D images appeared ; comic books newspapers and magazines posters jigsaw puzzles greeting cards. The polarized film process lives on in today’s state-of-the-art 3-D movies in theme parks, as well as some IMAX 3-D theaters. IMAX 3-D movies project giant images on screens seven stories tall, giving viewers the impression that they are submersed in the scenes projected on the screen.

Commercial Arts

Commercial Art, artwork in a variety of forms created to foster the sale of a product, service, or idea. Commercial art is used in many fields: advertising packaging publishing cinema television fashion textile interior industrial design. Commercial artists use: painting drawing calligraphy photography typography graphic-arts techniques Their work is often reproduced in print, and many commercial artists are trained in printing techniques. Commercial art is as old as recorded history; signs and painted walls that advertised shops and inns, for example, have been unearthed in the ancient Roman cities of Herculaneum and Pompeii. In the centuries before the development of printing, the vast majority of the public could not read; hence, unmistakable images were created to indicate the nature of the services offered. For example, a pig in effigy adorned a pork-butcher's shop, and three gilded balls (derived from the escutcheon of the Florentine Medici banking family) denoted a pawnbroker. As commerce increased under the stimulus of the Industrial Revolution in the late 18th and 19th centuries, commercial art followed suit, especially in printed matter. Advertising illustration in copperplate and wood engraving appeared on coach posters, tradesmen's cards, flyers, and newspaper advertisements. The constant developments and improvements in lithography and photoengraving produced a flood of advertising—calendars, billboard posters, and catalogs. Late in the 19th century improved color reproduction and other advances increased the importance of commercial art and raised its standards. Advertising posters achieved the status of fine art at the hands of such art nouveau artists as Henri de Toulouse-Lautrec and Alphonse Mucha. In the 20th century, commercial art proliferated at an enormous rate. Specialists emerged in all fields; advertising agencies were established, offering an infinite variety of commercial art services. The results range from high art to unrelieved vulgarity. In industrial design and the graphic arts, however, commercial art has had its finest accomplishments in bringing outstanding design to the attention of the public. In fact, in the last half of the 20th century, commercial art has not followed established styles as in the past, but rather has often created and popularized new styles.

DEVELOPING ART FORM

Art form By the 1890s, the technique had spread throughout Europe. A number of noted artists created poster art in this period, foremost amongst them Henri de Toulouse-Lautrec and Jules Chéret. Chéret is considered to be the "father" of advertisement placards. He was a pencil artist and a scene decorator, who founded a small lithography office in Paris in 1866. He used striking characters, contrast and bright colors, and created over 1000 advertisements, primarily for exhibitions, theatres, and products. The industry soon attracted the service of many aspiring painters who needed a source of revenue to support themselves.

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Global Illumination

Global illumination is a general name for a group of algorithms used in 3D computer graphics that are meant to add more realistic lighting to 3D scenes. Such algorithms take into account not only the light which comes directly from a light source (direct illumination), but also subsequent cases in which light rays from the same source are reflected by other surfaces in the scene (indirect illumination). Theoretically reflections, refractions, and shadows are all examples of global illumination, because when simulating them, one object affects the rendering of another object (as opposed to an object being affected only by a direct light). In practice, however, only the simulation of diffuse inter-reflection or caustics is called global illumination. Images rendered using global illumination algorithms often appear more photorealistic than images rendered using only direct illumination algorithms. However, such images are computationally more expensive and consequently much slower to generate. One common approach is to compute the global illumination of a scene and store that information with the geometry, i.e., radiosity. That stored data can then be used to generate images from different viewpoints for generating walkthroughs of a scene without having to go through expensive lighting calculations repeatedly. Radiosity, ray tracing, beam tracing, cone tracing, path tracing, metropolis light transport, ambient occlusion, photon mapping, and image based lighting are examples of algorithms used in global illumination, some of which may be used together to yield results that are fast, but accurate. These algorithms model diffuse inter-reflection which is a very important part of global illumination; however most of these (excluding radiosity) also model specular reflection, which makes them more accurate algorithms to solve the lighting equation and provide a more realistically illuminated scene. The algorithms used to calculate the distribution of light energy between surfaces of a scene are closely related to heat transfer simulations performed using finite-element methods in engineering design. In real-time 3D graphics, the diffuse inter-reflection component of global illumination is sometimes approximated by an "ambient" term in the lighting equation, which is also called "ambient lighting" or "ambient color" in 3D software packages. Though this method of approximation (also known as a "cheat" because it's not really a global illumination method) is easy to perform computationally, when used alone it does not provide an adequately realistic effect. Ambient lighting is known to "flatten" shadows in 3D scenes, making the overall visual effect more bland. However, used properly, ambient lighting can be an efficient way to make up for a lack of processing power.

Video demonstrating global illumination and the ambient color effect

Rendering without Global Illumination. Note that we are looking at a fully-enclosed scene through a one-way-transparency scheme (see the chrome sphere's reflection of the otherwise invisible white and green walls). There is a lack of definition in areas that are outside the beam of direct light from the ceiling lamp. For example, the geometry of the ceiling lamp's housing is obscured within a solid grey area produced by an ambient color. Without the ambient color added into the rendering equation, this surface would be black

Global illumination rendering demonstrating how light is reflected by surfaces. Note how colors transfer (or "bleed") from one surface to another, an effect of diffuse inter-reflection. Notice how colors from the red and green walls are diffusely reflected by other surfaces in the scene (one-way transparency is used to allow us to see "through" two walls from the outside while preserving their effect inside the scene). Also notable is the caustic projected on the red wall as light passes through the glass sphere.

ART is EXPRESSION

SCULPTURE

Art is the expression of creativity or imagination. The word art comes from the Latin word ars, which, loosely translated, means "arrangement". Art is commonly understood as the act of making works (or artworks) which use the human creative impulse and which have meaning beyond simple description. While art is often distinguished from crafts and recreational hobby activities, this boundary can at times be hard to define. The term creative arts denotes a collection of disciplines whose principal purpose is the output of material for the viewer or audience to interpret. As such, art may be taken to include forms ranging from literary forms (prose writing and poetry); performance-based forms (dance, acting, drama, and music); visual and "plastic arts" (painting ,sculpture, photography, illustration); to forms that also have a functional role, such as architecture and fashion design. Art may also be understood as relating to creativity, æsthetics and the generation of emotion.

Cave Paintings

Cueva de las Manos (Spanish for Cave of the Hands) in Argentina. The paintings of hands date from between 13,000 and 9,300 years ago

Cave Paintings are paintings on cave walls and ceilings, and the term is used especially for those dating to prehistoric times. The earliest known European cave paintings date to 32,000 years ago. The purpose of the cave paintings is not known. The evidence suggests that they were not merely decorations of living areas, since the caves in which they have been found do not have signs of ongoing habitation. Also, they are often in areas of caves that are not easily accessed. Some theories hold that they may have been a way of transmitting information, while other theories ascribe them a religious or ceremonial purpose.

Native Arts of Oceania

From earliest times, the natives of Australia, often known as Aborigines, have been creating distinctive patterns of art. Much of Aboriginal art is transitory, drawn in sand or on the human body to illustrate a place, an animal totem, or a tribal story. Early surviving artworks of the Aborigines are mostly rock paintings. Many are called X-ray paintings because they show the bones and organs of the animals they depict. Some Aboriginal art seems abstract to modern viewers; Aboriginal art often employs geometrical figures and lines to represent landscape, which is often shown from a birds-eye view. For instance, in Aboriginal symbolism, a swirl stands for a watering hole. The Bradshaws are a unique form of rock art found in Western Australia. They are predominantly human figures drawn in fine detail with accurate anatomical proportioning. They have been dated at over 17,000 years old and debate rages as to who actually created them.

DIAMONDS

Diamonds were first mined in India. Pliny may have mentioned them, although there is some debate as to the exact nature of the stone he referred to as Adamas; In 2005, Australia, Botswana, Russia and Canada ranked among the primary sources of gemstone diamond production

Mitsubishi i MieV

SALES PLANNED FOR 2010 year of the lord.

An electric car is a type of alternative fuel car that utilizes electric motors and motor controllers instead of an internal combustion engine (ICE). The electric power is usually derived from battery packs in the vehicle. In general terms an electric car is a rechargeable battery electric vehicle. Other examples of rechargeable electric vehicles are ones that store electricity in ultracapacitors, or in a flywheel. Vehicles using both electric motors and other types of engine are known as hybrid electric vehicles and are not considered pure electric vehicles (EVs) because they operate in a charge-sustaining mode. Hybrid vehicles with batteries that can be charged externally to displace are called plug-in hybrid electric vehicles (PHEV), and are pure battery electric vehicles (BEVs) during their charge-depleting mode. Electric vehicles include automobiles, light trucks, and neighborhood electric vehicles.

Malaysian Grand Prix

Loris Capirossi leading Nicky Hayden (69) and Valentino Rossi (46) in the Malaysian Grand Prix of 2005

World Touring Car Championship

The BMW 320si of two-time World Touring Car Championship title winner Andy Priaulx

Pay per clik advertisement

Pay per click (PPC) is an Internet advertising model used on search engines, advertising networks, and content websites, such as blogs, where advertisers only pay when a user actually clicks on an advertisement to visit the advertisers' website. With search engines, advertisers typically bid on keyword phrases relevant to their target market. When a user types a keyword query matching an advertiser's keyword list, or views a webpage with relevant content, the advertisements may be displayed. Such advertisements are called sponsored links or sponsored ads, and appear adjacent to or above the "natural" or organic results on search engine results pages, or anywhere a webmaster or blogger chooses on a content page. Content websites commonly charge a fixed price for a click rather than use a bidding mechanism. Although many PPC providers exist, Google AdWords, Yahoo! Search Marketing, and Microsoft adCenter are the largest network operators as of 2007. Minimum prices per click, often referred to as costs per click (CPC), vary depending on the search engine and the level of competition for a particular phrase or keyword list—with some CPCs as low as US$0.01. Very popular search terms can cost much more on popular search engines. The PPC advertising model is open to abuse through click fraud, although Google and other search engines have implemented automated systems to guard against abusive clicks by competitors or corrupt webmasters.

Myths about account planning

List of the planning strategy. Taken from an article by George Creel which appeared in Advertising Age on September 16, 1991.

• 1) Account planning is the solution to the advertising industry's malaise. (While account planning can strengthen an agency's creative product, no one discipline can solve all of the problems of an agency.)
• 2) Account planning leads to breakthrough creative. (Account planning does provide the background and consumer research to develop creative work, but breakthrough creative is a result of a superior creative staff.)
• 3) Account Planning is the key to winning the new-business pitch. (Pitching is a "team sport" that requires all of the departments of an agency to work together.)
• 4) There is a process for account planning. (There are numerous ways to execute proper account planning; Intuitive skills, a passion for advertising, and personal involvement are all essential and are a good place to start.)
• 5) Account planning is a continuous process. (Advertising is expensive!)
• 6) Account planning is new name for research, qualitative or otherwise. (Research is only one of the tools that account planners use to discover insightful information.)
• 7) Account planning and research departments can coexist. (Each department must have a clear definition of its role and must know who is in charge of whom.)
• 8) Clients like account planning. (They LOVE it - if it is free).
• 9) Account planning is the role of the account planner. (Good solutions can come from anywhere or anyone.)
• 10) Account planning is glamorous. (It is fun as well, if you have the passion to fight for your beliefs.)
• 11) Account planners sit in the room while the ads are made. (The account planner must articulate strategy to the creative team before the ad is created.)
• 12) Good account planners are hard to find. (Account planners can come from all backgrounds and disciplines.)
• 13) The best account planners are English. (No particular culture. race, religion, sex. or national origin is better at account planning than another.)

Grey Goose Vodka L'Orange

Dash of cranberry juice, a squeeze of lime, garnish with lime peel.