Signature Research Paper Example | Topics and Well Written Essays - 750 words

Signature - Research Paper Example An example of a signature can be a branding or logo that a criminal leaves at a crime scene. Hence, in the definition, the difference between the two can be seen in their relationship to the crime. The background of these two procedures will be explored further on in the paper. Another difference between a signature and modus operandi is that the later tends to improve over time with the criminal’s experience and enhancement in skills. However, a signature remains constant in a criminal’s acts and is deeply rooted in him/her. Modus operandi tends to change in the form of weapons used, exists and entry routes whilst a signature is adopted when an individual begins his crime and becomes a source of satisfaction, pride and in some situations a justification for criminal behavior (Douglas & Munn, 1992, 1-10). In summation, the two are different because modus operandi feeds and depends on emotional needs whilst a signature is just a procedure. The best way to analyze Modus O perandi is by looking at the background and driving forces between the two procedures. As mentioned above, a criminal leaves his signature as a way of personalizing his crimes. The crime itself and the signature are not directly related and are driven by different forces. There are several factors that influence the signature of the criminal. These include personality, past history, intelligence and mental state (Hazelwood & Warren, 1-14). These often give clues of a criminal’s psychological and emotional status and often reveal reasons for committing a certain crime. An example of the way a criminal’s signature can portray his or her past is that offer torturer (Turvey & Freeman, 2011). This can represent an individual has been traumatized in his childhood or possesses certain emotional traits such as self hatred. Others who aim to impose authority over a certain group of people may have past experiences of neglect or sexual abuse (Douglas & Munn, 1992, 1-10). As ment ioned above modus operandi and signature have different driving factors. Modus operandi is a process driven by the will of an individual to commit a crime (Hazelwood & Warren, 1-14). This is driven by the experience of an individual and his knowledge on the particular crime, including the best way to carry it out without being caught or compromising his intentions for committing that particular crime. This in turn leads to a variation in killing techniques, timing, destruction of evidence and execution (Hazelwood & Warren, 1-14). The MO can change for every victim, for example certain killer may choose different weapons for each target as this may help increase satisfaction gained from each crime (Hazelwood & Warren, 1-14). In summation, it can be said that all criminals have an MO comprised of habits, techniques and behavioral traits that are performed with the following objectives; affect escape, complete the crime and avoid capture. David Berkowitz has one of the most widely disc ussed modus operandi in the world. His MO involved.44 Charter arms bulldog revolver as the weapon of choice. The fire arm as five rounds and is specifically designed for close combat (Gresswell & Hollin, 1994, 307-318). The majority of Berkowitz attacks were blitzed shootings however at times he disguised the crime scene to cover up his true intentions and the nature of the act. For example, in the murder of

Thesis Research_How Chinese International Students deal with Research Paper

Thesis Research_How Chinese International Students deal with Acculturative Stress in their First Year of Studying in Canada - Research Paper Example The study also involved the collection of primary data from two online forums and mapping students in various places. The study shows that a majority of Chinese international students experience acculturative stress in the Canadian environment. The study also reveals that many of the students prefer to live, study and work in groups from which they get social support. The study further reveals that apart from relying on social support, the students maintain positive thoughts and engage in a variety of activities to overcome acculturative stress. Based on the results of the study, it is recommended that Chinese international students engage in various constructive activities, maintain positive thought and seek social support to as a way of dealing with culture shock and acculturative stress. A Study on How Chinese International Students Deal with Acculturative Stress in Their First Year of Study in Canada Ever since the late 70s, the government of China implemented a policy that aimed at facilitating students’ learning of advanced western technology by studying in western universities and colleges. Today, statistics indicate that China is the biggest exporter of students in the world according to Gu (2013). ... The general trend toward the preference to study abroad among Chinese students is driven by the belief that education outside the boarders of China is more systematic and comprehensive, and that the experience is better than they otherwise would get in China. Other students are motivated by the fact that they do not have to sit for and pass university entry exams when they select to pursue education in foreign educational institutions (Anonymous, 2013). One of the main motivations that Chinese students cite for preferring to study abroad is the experience of other cultures. While this is the case, the students are often subject to culture shock and acculturation challenges within their first few months or years of their introduction to the new culture. Having left behind their friends, family, and homeland, many of these international students face numerous challenges and difficulties in their new environments. Like other immigrants, Chinese students studying in foreign countries nor mally experience acculturative stress and its effects as they struggle to adapt to the new culture and environment. Several studies have been conducted with respect to acculturation and culture shock in different parts of the world. Most of the studies that have been conducted regarding acculturative stress focus on immigrants to the U.S. from different parts of the world. While this is the case, no study has been conducted on how Chinese international students deal with acculturative stress in their first year of study in Canada. This study seeks to fill this knowledge gap. My objectives are listed as below: 1. To establish how Chinese international students in Canada suffer from acculturative stress in their first year study 2. To explore the different

The novel of life in rural Mississippi in the 1930 Essay Example for Free

The novel of life in rural Mississippi in the 1930 Essay She had been making her own stories out of it. The subject was slavery and a racist, white man published the history book that she was given and she thought the book was wrong. She had eventually got fired due to T. J getting revenge on her for accusing him of cheating. Mr Granger was a man who leased out sharecropping land to the black community and took almost all of their money after the harvest. On top of that, the Logans had financial problems and mortgage problems. People had to face the consequences without hardly any money. Black people had to pay their mortgage at the bank but the white people employed at the bank just caused more trouble. This novel examines many issues for example: courage, bravery, prejudice, the power to succeed and the strength to survive. Black people have known that courage comes only to those who earn it. Friendship is an important part of life. You need people to look you up to, someone on your side so you can be brave and someone you can depend on for giving you advice if youre in trouble. You will hardly ever see any black people and white people, as thats the way life was. Jeremy was a good friend of the Logans. Jeremy Likes T. J and the Logans Tree House and their generosity and friendship. Some white people would be scared of some blacks. I know this because of when Kaleb Wallace gazed up at Mr Morrison, then at the truck as if trying to comprehend the connection between the two. The major conflict in this story is when two white children beat up T. J and accuse him of robbing a store. The two children were the actual robbers with stockings over their faces. Then the white children go to T. Js house and tried to hang and burn his whole family. The Logans try to stop this by setting fire to their own cotton field so everyone will stop to put the fire out before it reached their own. Luckily, the lightening had struck the cotton field. This was the turning point in Roll of Thunder, Hear My Cry. Everyone stopped what they were doing just to put out the fire, including the whit people. They all worked as one without hate or dislike. This would also be considered the resolution because the prejudice is gone for a moment. The falling action is when the fire is out and everyone goes home. Mama had explained that we have no choice of what colour were born or who our parents are what we do have is some choice over what we make of our lives once were here. Something more important in our life is education. There were two separate schools that separated the black children with the whites. Children used to travel by bus, car or just walk. Either way, there could be disaster waiting to happen whilst on the journey. Uncle Hammer gave warnings about these situations all the time. He thought that things seemed worse than usual up there. It gets hot like this and folks get dissatisfied with life, they start looking round for somebody to take it out on. So everyone should be careful and to always be aware of danger. As I read Roll of Thunder, Hear My Cry, I have noticed the particular language that the people use. They use local dialect for when they talk. The local dialect in Mississippi often involves shortening words and blurring words together as well as creating new words, for example: mopin round, cuttin up, bout, farmin, yall. The apostrophes show where letters have been dropped when words are shortened. When T. J talks about friendship in several local dialect speeches. He once said to Stacey, I swear everything I told yall is the truth. I I admit I lied bout tellin on your mama, but I aint lyin now, I aint. People used to talk like this because it was shorter and easier for them to say it. There are several themes in Roll of Thunder, Hear My Cry. One of them could be described as when someone feels that is bad, he can still have the pride of his family and friends. Courage comes only to those who earn it could be another theme. The last theme involves the difficult situation life presents and a need to stand tall. This book, I think, was well written to let people see things through a childs eye and experience their innocence and disbelief in the cruelties of life brought in by racism and prejudice. The lesson I learned in reading Roll of Thunder, Hear My Cry is that when people are found to be tough, they can be; especially a child. Sometimes they come out stronger than the adult in one of lifes crisis. There has been a lot of trouble in this book and people like Mama always sense trouble. She says your lucky no worse happened and were glad to have you here especially now. When Cassie had racial situations approach her, she likes to get vengeance and after she had achieved her goal, she tells herself, oh, how sweet was well-manoeuvred revenge. Now you know that if you have an ounce of hope inside you, youll have the power to succeed and all live as one. Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Mildred Taylor section.

History Of Penguin Paperback Books Arts Essay

History Of Penguin Paperback Books Arts Essay Penguin paperback books have become a constantly evolving part of British culture and design history since 1935 when the company was founded by Allen Lane. Lane came up with the concept of mass-producing inexpensive paperback editions of hardback titles. McLean (1952) mentions that the Penguin book venture is a standing reminder to manufacturers that the best is not too good for mass consumption. For the design of the books, Lane wanted to keep a consistent template for all the book covers to follow. He instructed his office Junior, Edward Young to devise a simple horizontal tripartite division of the covers using colours to signify the genre of each book orange for fiction, green for crime, dark blue for biography, cerise for travel and adventure and red for plays (Baines, 2005). The design featured contemporary typefaces at that time. Bodoni Ultra Bold was used for the publishers name Penguin Books and two weights of the relatively new (1927-8) Gill Sans Serif for the contents of the book cover and spine information (Baines 2005). First editions of Penguin paperback books (Adapted from Baines, 2005. p18-19) The fresh and modern appearance of the Penguin book covers was a major contributor to the commercial success. Other British publishers soon realised that design was an important feature for book covers and the demand for highly skilled designers increased (Doubleday, 2006b). Penguins design standards established uniformity and improved the overall aesthetic of books in Britain (Doubleday, 2006b). Despite the unity of their appearance there was twelve main front cover variations with some that contained illustrations. Lanes simple template for the Penguin books is derived to a degree from the Albatross book covers brought about in 1932. These designs were devised by Hans Mardersteig (McLeery, 2006). Lane was often quoted that he was trying to emulate the Albatross collection series which set the standard for early paperback book design (Doubleday, 2006b). Mardersteig designed the covers with the efficient system of colour-coded subject matter. Symmetry and centred sans-serif type placements were a feature. The size chosen for these books were 181 x 112 mm which adhered to the golden section of 1.61. Penguin books initially followed this size format which has become one of the two standard sizes within the paperback book industry, known as A and B format (Baines, 2005). The A format gives the reader a good line length for reading and a suitable compactness of the book (McLeery, 2006). Albatross book cover design series 1932 (Adapted from Genetic Joyce Studies, 2006) The bird inspired name and colophon, bright, plain coloured covers and focus on contemporary titles provided the influence for Lane a captivating standardised cover. Young, who went on to become the production manager at Penguin Books stated: it was time to get rid of the idea that the only people who wanted cheap editions belonged to a lower order of intelligence and that therefore cheap editions must have gaudy and sensational covers. (Joicey, 1993, p4) The classic design and layout of the Penguin books were to undergo a subtle, refined advancement under the direction of Jan Tschichold. Tschichold arrived at penguin in 1946 and asserted a more disciplined approach to the design (British Council Design Museum, 2006). The template for all Penguin books to follow consisted of designated positions for the title and authors name with a line between the two. The most notable change was the replacement of Gill Sans for Bodoni Ultra Bold for the PENGUIN BOOKS publisher title. He also drew the penguin symbol in eight variations. The oval or quartic that contains the publishers name is subtly more elegant and attractive than Youngs [Do a comparison in illustrator]. Some books included an illustration on the central horizontal band as shown on the Pelican book Sailing. Tschicholds Pelican Books follows the standardised layout with the inclusion of illustration and the blue colour that distinguishes Pelican. As Tschichold was already distinguished in the field of typography, great care was taken to optically letter-space all text on the covers and inside the book. Tschicholds experimental layout,left, and the revised design and layout, right (Adapted from Baines, 2005. p56 58) Tschichold studied a theory which claims to provide the most beautiful and harmonious proportions. It is was first documented in a book by Fra Luca Proportione(1509) and is said to have been the method laid down by Phidias, the architect of the Parthenon. It states clear rules of of the division of space. It is known as the Golden Section. The Golden Section is described as an aesthetic phenomenon. It is a division of space omnipresent throughout the universe. This division is an irrational ratio of 0.618:1. It represents every line, every surface, every volume whose elements are arranged in conformity with these proportions reflect the idea of Beauty (Br, 19xx). It has even been linked to the scale and proportion of human anatomy. It is all about expressing harmony. [Golden Section Diagram] The Golden section had great influence on Tschichold in his search for perfection in design and a greater awareness of proportion. He controlled the placement and size of elements with this ratio. The size of Penguin books were close but not precisely equal to the Golden Rectangle. It can be noted by (Br, 19xx) that the Golden Ratio can be substituted by another ratio e.g. 3:5, 5:8, 8:1, 13:21 etc. This is because such small differences are not picked up by the eye and can still be perceived as the Golden Ratio. The Golden section reassures that aesthetics is not subjective. That it is not an individual feeling and more a general taste that can be measured and mapped out. Tschichold commonly expressed the importance of constant adherence to standardised formats and composition rules. Soon after being offered the job at Penguin, Tschichold produced a set of rules known as the Penguin Composition Rules (Doubleday, 2006b) that were to be followed by Penguins typographers and printers to ensure the books followed the same style and that there were no variations. These rules, which ran into four pages long, standardized the formats and typographic specifications and unified the design of the book series (Doubleday, 2006a). Tschichold implemented a coherent grid system in conjunction with the Penguin Composition Rules that set the foundation for the trimmed page area, width and height of each book, visual cover size, type area on cover and spine, position and style of the spine label and lettering on labels for all the Penguin series (Doubleday, 2006). One of Tschicholds grids to control the design and production of Penguin books with detailed instructions (Adapted from Hurlburt, 1978. p70) This above illustration shows that Behind the simplest grid there is often a complex process of analysis (Hurlburt, 1978, p71). Hurlburt cites that many publishers treat the book cover design as a separate entity, often using different designers for the book to encourage advertising. But a better looking product will result when the overall design of a book is considered in the early stages. Magazines and newspapers designers always work in the sizes of the established format (Hurlburt, 1978). On the other a book designer may have the responsibility to select the size of shaped and pages. Also, a concern with the weight and thickness of the book will put a three-dimensional edge on the project. Tschichold identified contrast as the most important important element in all modern design (cited in Hurlburt, 1979, px). Furthermore, Hurlburt (1979) believes that the importance of contrast in the design of layout is very important. He states: The contrasts of dark against light and large against small, the contrast of mood in subject matter, and the punctuation of space in strong accents all contribute to the dramatic presentation of graphic material. (Hurlburt, 1979, px) This element of contrast is clearly evident in Tschicholds work for Penguin books The idea of great literature mass produced and sold cheaply, the famous Penguin slogan Good Books Cheap (Doubleday, (2006b), p24). The brightly coloured contrasts of each genre cover. The separation of the cover into three coloured sections for publisher, book title and author, and logo. The dissimilarity compared to other books on a merchants bookshelf that makes them stand out. The moderate use of then contemporary fonts instead of traditional ones. Doubleday (2006b) reasons Tschicholds main objective at Penguin books: was to synthesize all of the Penguin series with unprecedented quality, distinctiveness, and uniform styling, while at the same time, designating singular individuality and genuine features for each and every book. (Doubleday, 2006b, p45) Rationale Penguin books have been in production for over 70 years and although the cover designs have seen changes from different designers, the Tschichold era remains to be the most studied and the most iconic. Tschichold left a lasting impression on graphic design that few could compete against and undoubtedly set the standard for successful book design. Tschicholds design work and principles while at Penguin, inspires a great standard for design, even for contemporary designers. What was it about the Penguin book covers that made them so successful and in retrospect, a timeless and iconic part of British design history? The two defining achievements for Tschichold and his time at Penguin are the standard typographic conventions of the Penguin Composition Rules and the rigid grid structure that housed the design. The following list summarises Tschischolds achievements while at Penguin: Develop a grid for rigid and consistent use across all platforms. The grid must have distinct planned placements for the different elements and provide balance and uniformity Use the Golden Section to influence proportion Apply typographic standards for continuity Use legible and contemporary typefaces Pay close attention to brand loyalty and do not deviate far from it Use contrast for effective presentation of graphic material and to stand out from competition. Contrasting elements include colour, size and mood. Over the years, other popular culture mediums take shape that require tactile and original design in order to survive in such a competitive market. Many companies choose to re-brand in order to refresh their image due to decline in sales. In popular culture, it is not uncommon to recycle trends. Covers of contemporary media such as computer games have some similarities to book cover design after all, computer games are essentially a more interactive version of story-telling. Like book covers, they require the name of the publisher, the game authors, the title, room for illustration and other elements such as age-rating. A continuous grid structure that separates all these elements is used as well as typographic specifications. This shows a cover for Uncharted for the Sony Playstation 3 gaming console. It is a cover for the platinum range of Playstation games the games that sell a high amount in their first year. The design differs from the original game covers in order to signify its high acclaim in sales. These games are less than half the price of the original games and stand for good value gaming. The grid system used for the range of covers is shown below. [IMAGE] The current design of Playstation Platinum covers is hotly debated. They are deemed ineffective, perhaps because of a grid structure that does not allow for a well-proportioned design. To clarify this, a short questionnaire with a series of eight questions was presented to a number of computer-gaming community based forums. The questions were presented through Survey Monkey(http). The following is a breakdown of the questions with the three most relevant answers contributed. 1.How many hours per day/week do you spend playing computer games? 20 hours a week if I have time too many4 hrs per day 20-25 hours per week 2.Are you bothered by a games cover design? I prefer the cover to look nice, but not really no. A little Bothered no, but they can do catch my eye sometimes. 3.Do you think a games cover design inspires you to purchase it? It might make me want to purchase a game I was already interested in a little more. Impulse buying, Yes no. the game has to be good for me to purchse it. 4.Do you like to collect your game purchases and keep them in good condition? Yes. After all, I worked to buy them. Yes I do like to keep them in good condition. no. I just toss them in a file cabinet to play later. 5.Do you ever buy from the platinum game range? If no, please specify a reason why not for PS3 because of the game covers, but yes for other platforms Not usually, because I like to keep a well organized collection No as the boxart looks out of place with my other games 6.What are your views on the platinum game covers? Plain. Should re-design the covers entirely. They are fine, and allow one to find the cheaper games faster. platinum branding ruins the look 7.Would you prefer to see a better cover design for the platinum range? Possibly modify the colour, reduce the size of the borders. They shouldnt be as conspicuous as they are (e.g. not luminous yellow for EU PS3 platinum covers) yes. Something that shows off the greatness of the game. 8.Would you prefer to see the same cover design for the platinum range but with the price reduction only? No Have some distinction it is a platinum title. yes, however some indication that its platinum range would also be good, maybe a sticker or something id have no covers if it made it cheaper Considering these comments, create an alternative grid structure that will influence better proportions. Practice 1.Taking an accurate measurement of the physical dimensions and a rough idea of the elements to be included e.g. type size, line-height, image sizes. 2.Thinking about the nature and content of the project. Considering how to best present this and the amount of emphasis each element needs. Emphasis is the contrast between elements size, colour, disposition, placement. Used correctly, it should signify hierarchy. 3.Considering which type of grid best suits the project. [ILLUSTRATIONS OF GRIDS AND INFO ON TYPES] 4.Sketching the grid to a closely accurate scale that justifies the division of space and the placement of elements at the co-ordinates. The following image shows a grid using a series of Golden Sections constructed from the dimensions of the cover. There are six Golden Sections reaching from each side of cover. Using the co-ordinates of this grid to position elements may seem unorthodox. There is no sense of continuity and unvarying spatial zones. However, the asymmetrical divisions of the Golden Ratio is the concept of its beauty and harmonious proportions. A Golden Section grid was best suited to this project as it called for irregular proportions and a slightly intuitive placement of the objects. There is a clear hierarchical structure evident in the design. The tripartite division of the cover resembles the Penguin series. The top horizontal division contains the well known Platinum title and is of a modest type size. It casually confirms the highly acclaimed status of the game. The colour choice seemed appropriate to be eponymous to the section. In the bottom horizontal division is the game title, publisher, game authors and age certificate. This division needed to be the largest to house all the objects. The game title has the largest font size as it is the most important characteristic of the game. It is slightly off centre to the right and does not align with any other element. The unevenness gives the cover an edge and emphasizes each element individually. The choice of colour for the bottom division is reminiscent of the Penguin concept to visually signify the genre. It was decided to use a colour system of green for action and adventure, blue for sports, cerise for strategy, red for combat and orange for racing. The font used for the platinum title and game title is FF Blur medium by Neville Brody. Created in 1991, it was chosen for its irregular yet legible appearance that gives it a contemporary aesthetic. Its not too serious and not too playful, which aptly fits the nature of Playstation 3 and the temperament of its users. The font was chosen consistently for the platinum title and game title so that it keeps the range of games on the same level and is clear and lucid to observers on a sales stand. [FF BLUR TYPE] The middle horizontal division contains the non-translucent part of the game illustration. The illustration shows in-game action, like a snapshot of the game-play that encapsulates the greatness of the game. The top and bottom divisions are translucent to support a full cover illustration and provide a constant contrast against the text across all game covers. The middle division is structured as a focal point according the Golden Section and acts as a peer into the game-play. The borders to the left are kept constant with the regular non-platinum game covers. This is to keep an order of continuity in a game-players library. Many mentioned in the questionnaire they are put off buying platinum games because the luminous yellow borders hamper their ordered games library. The overall appearance of the game cover is suggestive of the Penguin covers and what they stand for good games cheap. This is perhaps overlooked by most gamers, however, the design is not intended to be nostalgic. When a project is planned like this it leaves little uncertainty for positions, image sizes etc. In a well structured grid, elements fall into place and the design takes shape more easily. Careful planning of this type can be applied to all mediums of graphic design. Grids for books, posters, magazines, web design etc. call for different grid structures. It depends on the subject matter and how it is to be presented and communicated. When including photography in any piece of design it is necessary to have good composition. Golden Ratio dimensions can to help compose a photography appropriately to achieve a sense of balance and harmony. The following page shows photographs that have been positioned appropriately to Golden Sections within a spatial zone. To do this, a program called PhiMatrix can be used as an aid. It displays a completely customisable Golden Rectangle over any program at any time. The three most important customisable features are the size of the rectangle, the amount of divisions within the rectangle and the style of Golden Rectangle. Although this program is useful for quick mock-ups of Golden Rectangles, it restrains the freedom to move in and out of programs when you want the Golden Rectangle to stay positioned where it is. Also, it does not contain the spiral rectangle. A better solution is to manually draw each type of Golden Rectangle. Begin with a scaled Golden Rectangle by using the Golden Ratio of 1:1.618. If the rectangle is 100mm in height, then it would be 161.8mm in width. To get the first vertical line for the grid do a calculation of 161.80.618 which equals 99.99mm. Make a vertical rule division 99.99mm across. To get the first horizontal rule for the grid do a calculation of 1000.618 which equals 61.8mm. Make a horizontal rule division 61.8mm up. These are the first two lines of the Golden Grid. If you need more lines in the grid for added structural assistance then times 0.618 by the next rule divisions i.e. 99.99mm and 61.8mm. Keeping repeating these steps until there is sufficient spatial zones to work with. For the grid to have a more modular structure, copy and flip the horizontal and vertical lines. For the purpose of positioning photography, four rules should be sufficient as shown. To draw a spiral Golden Rectangle begin by drawing a square and a horizontal halfway line of the square. Locate the point where the halfway line meets the squares edge. Draw a circle from this point with the radius of the distance from the point to the opposite top corner of the square. Extend the square up until it meets the tangent point of the circle. Draw another within the new rectangle division and repeat the process three times for the spiral to emerge. The Golden Ratio is becoming more established as practicable method method in influencing graphic design. It is believed that many logos are influenced by the Golden Section. A fictional Swedish brand was created to use the Golden Ratio to create a logo. The brand is called Skogsr . The idea of the logo was to use three crowns as it is a national emblem of Sweden, present in the Coat of Arms of the Realm of Sweden. The crowns were created using a total six Golden Rectangles that combine to make up one large Golden rectangle. The finished logo was wrapped around a 3D-model of two beer cans using 3DS Max. The beer cans were positioned relative to a Golden Ratio grid. The end result is an example. Evaluation To achieve a successful design solution, the process can be broken down and simplified by use of a grid. When all the necessary information of words and images are composed in a proportionate manner, the design then takes a dynamic form. This is a fundamental part of what design is elements positioned in a beautiful and harmonious system. Considering which elements go where when piecing together a work of images and words can be for the most part an unsure process. Experience and perhaps an innate sense of proportion account for most judgements when weighing up proportion. Essentially, there are two methods in which a designer can take to tackle a design problem using creative intuition about sense of proportion or using a grid for a sense of proportion. Both methods can result in a beautiful and harmonious design solution where all elements have a unique relationship to one another. It may be argued which method is best for the study of graphic design. From the experience gained during the course of this study, it has helped find solutions faster and more efficiently. Evidence shows designing with reference to a planned grid can consistently produce better results (Hurlburt,1978). When an intuitive course of action leads the creative process it could produce sometimes unordered and self-indulgent results. This may hinder the communication purpose of design. On the other hand, a purely pragmatic approach could result in design that lacks originality and flair. Breaking a grid in certain circumstances can be practical but knowing when to do so is import ant Education of design does not really call for a rigid use of grids. This is perhaps because people who seek roles in design are people with creative insight and have an innate sense of balance and proportion. A grid is essentially a combination of horizontal and vertical lines that act as a foundation for the placement of elements. The mind makes these lines when deciding where to place things. A grid can provide these lines and help the mind focus on the objective of communicating design effectively. Hurlburt(1978) states that many highly educated and and contemporary graphic designers can perform without the use of formal grids. Even so in Switzerland and Germany where it is believed grid systems originated. Grids provide a solid framework to work with and can be used in all desktop publishing software. Quite often, effective design ideas come as a correspondence in time between thoughts/moods and the design project at hand. There are times when creative ideas come to mind easily and design solutions are apparent. There times when there is a dry-up of creative flow, possibly as a result of outside forces. During these times a solid framework with which to work is the best course of action. It is comforting that a framework that assists the creative process exists, as graphic design is often thought of as a purely creative line of work that combines knowledge in software and not as a subject where rigid structures exist. Grids provide beautiful harmony and make a design more lucid. It can make a page come alive. They are a guide to, but not a guarantee to effective design and a sensible approach to the design problem. The design work created has laid the foundations for effective future work

Oppresive Force Essay -- essays research papers

â€Å"Oppressive Forces† Amy Tan’s â€Å"Mother Tongue† and James Baldwin’s â€Å"If Black English Isn’t a Language, Then Tell Me, What Is?† discusses the power in language and how it is defined as a tool for communication but is used to shape people’s perception of others. Both Tan and Baldwin state that language is used as an oppressive force that doesn’t properly acknowledge minorities and the lack of proficiency in â€Å"standard† English doesn’t allow them to participate with society equally. Within Baldwin’s essay he makes it clear that the black community is not accepted because of the language in which they speak. It isn’t the fault of the language but the role in which society refuses to acknowledge their history. He states, â€Å"It is not the black child’s language that is despised. It is his experience.† (pg 534) He is arguing that the reason Black English is looked past as being a language is not because of what he or she is says but what he or she represents. Language is directly linked to culture, refusing a language directly dishonors its culture. Baldwin argues that no matter what people say, they are judged on the way they speak. He firmly states, â€Å"Language, incontestably, reveals the speaker.† (pg. 532) This further explains the fact that the Black community is seen as unequal because of this barrier in unacceptable tongue. The word black itself is negatively correlated throughout language. For example blacklist, black humor, black hole, black cat, blackmailed, and the black mark... Oppresive Force Essay -- essays research papers â€Å"Oppressive Forces† Amy Tan’s â€Å"Mother Tongue† and James Baldwin’s â€Å"If Black English Isn’t a Language, Then Tell Me, What Is?† discusses the power in language and how it is defined as a tool for communication but is used to shape people’s perception of others. Both Tan and Baldwin state that language is used as an oppressive force that doesn’t properly acknowledge minorities and the lack of proficiency in â€Å"standard† English doesn’t allow them to participate with society equally. Within Baldwin’s essay he makes it clear that the black community is not accepted because of the language in which they speak. It isn’t the fault of the language but the role in which society refuses to acknowledge their history. He states, â€Å"It is not the black child’s language that is despised. It is his experience.† (pg 534) He is arguing that the reason Black English is looked past as being a language is not because of what he or she is says but what he or she represents. Language is directly linked to culture, refusing a language directly dishonors its culture. Baldwin argues that no matter what people say, they are judged on the way they speak. He firmly states, â€Å"Language, incontestably, reveals the speaker.† (pg. 532) This further explains the fact that the Black community is seen as unequal because of this barrier in unacceptable tongue. The word black itself is negatively correlated throughout language. For example blacklist, black humor, black hole, black cat, blackmailed, and the black mark...

Female Genital Circumcision Essay -- female genital mutilation, FGM

The process of female genital mutilation (FGM) or female circumcision is served as a ritual practice in African countries and cultures, yet doctors are faced with an issue of illegality and immorality when African immigrants want these procedures performed here in the US. Ever since the beginning of religion, Jews, Muslims, and Christians have practiced male circumcision. This practice was scene as both sanitary, holy, and if done properly, harmless. This practice became so popular that civilization has carried out into current time, in which male circumcision still serves as a very popular procedure today. However what most Americans don’t know is that this procedure isn’t only done on males in other areas of the world. In countries like Africa, this procedure is also performed on fema...

Fenway Park

Some things on this earth are just magical. To some it may be the beach at sunset, to others it may be as simple as the drive to work in the morning. For me that place is Fenway Park in Boston Massachusetts. Going to a game in Fenway is a smorgasbord of delightful feelings. Even the walk up to the ballpark is some thing to behold. Walking with hundreds of passionate fans, all decked out in their red sox T-shirts, jerseys, and of coarse that iconic navy hat with the red B on it. I feel like I belong there with this organized group of strangers.There is such a since of family as I see people from the â€Å"T† car I was on and chatted with. A few hundred yards ahead I could hear a â€Å"Lets Go Red Sox† chant as people around me began to join in it became more enticing to do so myself. After all this was my team, our team, and this was our year! That was the constant attitude of a Sox fan. Just as the team would look like they were primed to make a push for the World Serie s they would lose in heartbreaking fashion and mostly to the hands of the damn Yankees. As me, my uncle, and my dad approach the park down Yawkey Way, the air is filled with a combination of smells.As you pass the sports bars the smell of beer and cigar smoke is thick in the air. As you pass a different vendors the smells of nachos and pretzels tempt you, and finally the smell of †Fenway Franks† (the ball parks signature hot dogs) hit you like a baseball. I’m not just a sports nut but a food fan too, so I enjoy the aromas as they tempt me. The robust scents of sausage and onions fill the air along with smoke from near by grills. As you walk closer and closer to the stadium you are barraged with people shouting â€Å"programs.Get you programs, three dollars out side five inside the park† and scalpers try to sell you â€Å"amazing† or â€Å"best in the park† tickets. As we near the gates I begin to shuffle in my pocket for my ticket. As I get it out I notice the cracks and pops between my Nikes and the asphalt. The sound of boiled peanut shells, plastic spoons, and the occasional lighter or beer can. The slick pavement and lunatic drivers keep me from daydreaming too much but still my mind races as I see the team’s championship banners and I think back to where I was when we won those years. I look down a gated lley that reads â€Å"players and coaches only† and I think If I was just there twenty minutes earlier I would have gotten a glimpse or even a word in with one of my favorite players. As I drift back in to reality I see several long lines at gate A this was unusual but my spirits were to high to be broken. As I slide into what looks like the shortest line my Uncle Geno grabs me and says, â€Å"let’s go† so my dad and I follow him. I was curious where we could be going and I really didn’t want to have to step out of line but I knew geno had something up his sleeve for us.Geno leads us around the perimeter of the park and to gate D. There was almost no line at this gate so we slide in easily. Geno had done it again, always the go to guy on street knowledge and somehow he knew everyone. When we make our way past countless vendor to the tunnel the crowd roars. As I step through the tunnel into the light the glare of the setting July sun hits me. When my eyes finally readjust to the light I look around and almost have trouble with my depth perception because of how big and crowded Fenway is.As we begin our treck to our seats we pass countless passionate fans I look to the scoreboard, the giant Budweiser neon sign, and to the enormous coke bottle and marvel at their size. Then there it is the† Green Monstah† the 39 foot tall left field wall and the luxurious monster seats. The crowd roars again and the home team comes out of the dugout and takes the field. I could feel the excitement as it rose to a fever pitch as my anticipation exploded and I joined i n the Let’s Go Red Sox chant. ~BPM