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honoria in ciberspazio

gallery + reflections

Drawing Book: Shapes Basic Shapes
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honoriartist Description: lick to hear
Volume or solid of spiral shape that turns at a constant angle.
cylinder Description: lick to hear
Volume or solid generated by the rotation of a straight line (generatrix) moving along a curved line (directrix).
regular octahedron Description: lick to hear
Volume or solid with eight triangular sides of equal area; it has six vertices and 12 edges.
parallelepiped Description: lick to hear
Volume or solid with six sides (parallelograms) that are parallel in pairs.
cube Description: lick to hear
Volume or solid with six square sides of equal area and six equal edges; it has eight vertices.
pyramid Description: lick to hear
Volume or solid generated by straight lines (edges) connecting the angles of a polygon (base) to the vertex and whose sides form triangles.
cone Description: lick to hear
Volume or solid generated by the rotation of a straight line (generatrix) along a circular line (directrix) from a fixed point (vertex).
torus Description: lick to hear
Volume or solid generated by the rotation of a circle at an equal distance from its center of rotation.
sphere Description: lick to hear
Volume with all the points on its surface the same distance from its center; the solid thus delimited is a round ball.
hemisphere Description: lick to hear
Half sphere cut along its diameter.
Tags: ,

Drawing Book: Shapes: NURBS
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Part of the Mathematics glossary:

NURBS (nonuniform rational B-splines) are mathematical representations of 2- or 3-dimensional objects, which can be standard shapes (such as a cone) or free-form shapes (such as a car). NURBS are used in computer graphics and the CAD/CAM industry and have come to be regarded as a standard way to create and represent complex objects. In addition to curves and surfaces, NURBS can also represent hypersurfaces.

Most sophisticated graphic creation tools provide an interface for using NURBS, which are flexible enough to design a wide range of shapes - anything from points to straight lines to conic sections. NURBS are compact expressions that can be evaluated and displayed quickly. NURBS work especially well in 3-D modeling, allowing the designer to easily manipulate control vertices, called ISO curves, and control curvature and the smoothness of contours. NURBS are defined by both control points and weights. It takes very little data to define a NURB.

A spline is a usually curvy pattern used to guide someone shaping something large, such as a boat hull. The B-spline is based (the B stands for basis ) on four local functions or control points that lie outside the curve itself. Nonuniform is the idea that some sections of a defined shape (between any two points) can be shortened or elongated relative to other sections in the overall shape. Rational describes the ability to give more weight to some points in the shape than to other points in considering each positions relation to another object. (This is sometimes referred to as a 4th dimensional characteristic.)

This was last updated in March 2011
Contributor(s): Arun Nambiar
Posted by: Margaret Rouse

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The Creative Process is a Place

In the midst of a creation, an artist is not a creator separate from the work. Instead, the artist is IN the process. And the process is always moving.

Studio of the Mind

An artist inhabits a studio of the mind stocked with intellectual resources of imagination, experience, and wonder.

What emerges from the flowing mind studio? The arts! Visual art, music, poetry, ideas, dance, literature, culinary delights.  And what is the function of the arts?

Portal to the Creative Process

Each artwork functions as a portal back into the creative process.  When you buy a piece of original art you have a portal directly into the flow of creativity that produced it. The function of art is to engage the creative process, to get energy from and to give energy back. The ebb and flow of creativity irrigates the imagination and springs open the creative process.

Collaboration Blog on 21st Century Art Education
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For the last month I have been collaborating with my friend and Color Theory Master, Luanne Stovall.  We have been writing about 21st century art education.  You are cordially invited to view the last 4 weekly blog posts at  

Lemon Day 1 Summer Term 2016
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Summer 2016 Observational Drawing class with drawings of lemons in the background

The summer classes' lemon day was a success as you can see.  This recurring event is the highlight of my term each season.  This time I gave all the students some real toned pastel paper to use and the lemon drawings were even better because the art supplies were better.  Yay!

Student Comments

My use of texture to blend the components together as well as light logic gave a more 3-D perspective. - Austin A.

I feel I have a better understanding about local color.  It was interesting to see how light logic applies to it.  I feel like I have a better handle on how value and saturation apply to colors. - Wyatt C.

I'm getting a lot better at being able to show value in my drawings.  They're coming out more real. Also on the 2nd lemon drawing I had a little trouble with relationship in size of the lemons, but the more I played around with it, the better it got.  Lastly, my edges are becoming more realistic.  I don't always need a strong dark line to edge something out.  I feel I'm getting better at being able to draw what I see and it look like what I see.  - Sierra J

My drawing improved greatly.  At first I was really nervous and uninspired because I thought that I was going to do bad, but I gained my confidence in the skills wer were learning and my second drawing came out a whole lot better.  My second drawing had better shading and sizing, and the light logic was done correctly. - Kamera N.

Teacher Reflection
I can't afford to supply my classes this quality of paper, and they don't understand how much quality materials can benefit their professionalism and the success of their drawing.  So they don't buy themselves the good stuff.  However, on Lemon Day I have a stash of high-quality pastel paper for students to use. Using this paper, students are better able to control the pastel to craft the all-important chiaroscuro of 3-D.  As a result of focusing on lemons with good art supplies student confidence rises.  Students develop a willingness to tackle drawing with a more rounded, multifaceted approach.

Lemon Days of Summer
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Observational Drawing class in front of installation of their lemon drawings

Student Comments

Using light logic by creating highlights in my drawing. Used textured paper to better capture realism...Also using vertical location to show distance between object.  - Diejon B

I feel like I'm growing better with using pastels.  I am becoming more confident in blending, therefore overlapping some of the reflections over the shadows.  I am shocked at how amazied I am at the fact that you can use the eraser to block in the shapes.  I'm going to continue to use pastels.  - Chance C.

In my first drawing, you can see where I understood the concept, however the values weren't as dominant as I would have liked.  Moving forward with the second drawing, I was able to blend my colors more.  I also feel I was pretty accurate with the size relationships and being able to tell one lemon was in front of the other. - Kristianna G

How to write a Tragic Opera
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1. Review other tragic operas

2. Collage: Combine some really tragic and dynamic parts into a prototype.

3. Synthesize: Add your own story's character and unique language.

4. Create:  With the foundation of history and unique language move your charaters through their unique poetry in tune with the zeigeist of your opera.

Onward through the sorrow!

Words employers want to see on your resume
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Keep These Words Off Your Resume

Are you a “dynamic” “team player” and “people person” who thinks “outside the box”? Here are resume words to use instead.

Your resume is one of the most powerful tools in your job search, but it might be full of words that drain it of its strength. “[Buzzwords] once had meaning, but they have been repeated so often that hiring managers gloss over them,” says Mitchell Langbert, associate professor of business management at Brooklyn College.

To help you make sure you’re not filling your prime resume real estate with meaningless jargon, we’re breaking down which resume words to avoid, and which terms to add. Now read on you problem-solving, goal-setting, self-motivating go-getter. (Yep, these words are all on the good-to-go list.)

Bottom-lineWhile these words and phrases were actually once effective and meaningful, they are now “dying from overuse,” says Langbert.

Excellent communicator
Familiar with
Go-to person
Hard worker
Highly organized
Outside the box
People person
Strategic thinker
Team player
Thought leadership
Track record
Value add

Want even more help on your resume? Get started with a FREE resume evaluation from Mediabistro’s Career Services. Our counselors and writers can help you update and upgrade your resume so you can confidently apply for the job you want.

Use These

Replace buzzwords with “action verbs that describe what you’ve done and how those experiences have contributed to your success or the success of the company,” saysEleesha Martin, senior recruiting specialist at G&A Partners.

Showed confidence

Other Words Employers Love:

Under budget

21st Century Skills and the Arts
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Education Week
Published Online:
Published in Print: February 2, 2011, as Not for Art's Sake Only


The Skills Connection Between the Arts and 21st-Century Learning

Arts Education and 21st-Century Skills

Published Online: February 1, 2011
Published in Print: February 2, 2011, as Not for Art's Sake Only
The Skills Connection Between the Arts and 21st-Century Learning
Arts Education and 21st-Century Skills
By Bruce D. Taylor
Few of us could disagree that today’s students must be taught the necessary skills to function in an increasingly complex,
conceptual, and globalized 21st-century society and economy. Students have to acquire so-called “habits of mind” that
will enable them to develop the skills of creativity, critical thinking, and problem-solving.
In addition, they must be able to communicate effectively, collaborate with people different from themselves, exercise initiative, and be self-directed.
That is a pretty tall order.

The primary purpose of education is to enable students to make a living as adults; without this capability,
everything else falls away. Yet we still teach within a basic framework established in the 19th century.
In today’s education environment, we seem to be slipping back from the future into the 19th century’s
contextual emphasis on reading, writing, and math. The consequences could be dire, even propelling us
back to a two-tiered education system: just reading, writing, and math for the disadvantaged in underresourced schools,
alongside a richer 21st-century curriculum for the country’s productive employees and future decisionmakers.
What can we do?
Consider the list of skills cited in the first paragraph. Aren’t these 21st-century skills, in reality, arts skills?
Now, stay with me here: First, we need to recognize that the very same valuable skills routinely employed
by artists and arts educators can be integrated curriculum-wide in ways that are not arts-dependent.
If this seems a revolutionary notion, it is because for more than 30 years, the well-meaning mandarins
of arts education have promoted practitioner development above all else.
We must ask ourselves, are we preparing students to function as human beings, or just as flesh-and-blood
versions of a hard drive?
What happened over that same span of time? Not only were the arts severely diminished in public education,
but the young people we supposedly reached 10, 15, even 20 years ago became parents of kids in schools
where the arts were cut. Bear in mind that these cuts were not the work of educators, but of school boards
ostensibly representing the parental community. The irony is rich, since the very skills their children will need
to be capable adults can result from arts practice.
At this point, I believe that the prevailing public perception is that arts education is only for young people
who want to be artists—“Glee” wannabes. If we applied this mindset to science, we would teach science
only to students who aspired to be chemists, biologists, or astronomers.
But the basis of this public perception is legitimate, rooted in the reality of arts education today.
The fact is, we too often teach students to perform without their actually learning anything.
Most of the time, students are simply remembering lines, notes, steps, terminology, and so on.
To be fair, the cumulative amount of instructional time an elementary music teacher has in the school
year is approximately 32 hours. This is less than the equivalent of a standard workweek to produce two
concerts with 200 or more kids. Given this time constraint, perhaps all that can be accomplished is
replication—not learning, much less understanding.
I believe that we can repair the damage done, and change public perception, by rethinking and reshaping
our approach to arts education. I propose that the critical skills of creativity, critical thinking, and
problem-solving can be developed by design—not acquired by accident or as a byproduct—
using the arts as tools. For example, teaching artists, along with arts specialists in schools,
can be rich resources for the integration of 21st-century teaching and learning into the
19th-century paradigm to which we seem to be wedded. After all, to be “creative” is to be,
by definition, artistic.
Why am I convinced that this would work? Because the arts relate to the unique ways in which
human beings think.
Marc Hauser at Harvard University postulates that there are four “key characteristics of the human mind”
that are contained in the 1 percent of our DNA that distinguishes us from our nearest primate relative, the chimp.
• Generative Computation The ability to create a limitless variety of “expressions” from a generative
catalyst of modest content. Think Beethoven’s four-note theme, which he spun into the Fifth Symphony.
• Promiscuous Combination of Ideas Mingling of different domains of knowledge, thereby creating new products,
relationships, techniques, and technologies. Think of a recipe that combines the chemistry of ingredients with
knowledge of temperature and time, along with taste, feel, and smell.
• Mental Symbols Encoding sensory experiences, both real and imagined, into complex systems of communication.
Think metaphor or analogy.
• Abstract Thought The ability to imagine what isn’t yet.
To focus on these is to enhance the very qualities that make us ... us. In other words, to be artistic is to be human.
The arts are woven throughout the fabric of our lives and the tapestry of our society. We engage with the arts every day,
all day. Artistic products envelop our daily lives, particularly those of children. They are what we listen to, watch and read,
wear, put up on our walls—they are everywhere. Artists have employed for millennia the inherently human abilities that
Hauser describes, transcending cultural and historical boundaries; now, these qualities have become crucial capabilities
for success in the 21st century.So we must ask ourselves, are we preparing students to function as human beings,
or just as flesh-and-blood versions of a hard drive?
The key connector of all these artistic artifacts in our lives is emotion—these things matter to us.
They touch us, resonate with us. Now, what is the one adjective all dropouts use to describe school?
Boring! To be bored is to be emotionally disengaged. Do our children go to school only to prep for tests
that are limited in scope and focus to the three R’s of retention, recall, and replication? Is there a difference between
“to know” and “to think?”
Of course there is a difference, and surely the mission of education is to have students think as much as it is for
them to “know.” But how do you “test” thinking? And shouldn’t teachers be asked, “What do you think?”
The key disconnect with so-called teacher reform is that teachers are not urged—not permitted—to think.
The demand is that teachers limit themselves to following prescriptions generated by people far removed
from the classroom and the school, sometimes hundreds of miles away, both literally and figuratively.
We must allow and encourage teachers to be creative (i.e., artistic) in devising ways to reach children in
a variety of circumstances, cultural frameworks, and emotional conditions, to have the flexibility to shift gears,
to create (there’s that word again) alternative methods, and to inspire in their students an emotional commitment
to attaining mastery.
All of these are hallmarks of the artistic process, and they can—and should—be employed in nonartistic contexts as well.
Bruce D. Taylor is the director of education for the Washington National Opera, in Washington, D.C.
Vol. 30, Issue 19, Pages 22,26

Bruce D. Taylor is the director of education for the Washington National Opera, in Washington, D.C.

Vol. 30, Issue 19, Pages 22,26

Taylor, Bruce D. "The Skills Connection Between the Arts and 21st-Century Learning." Education Week. Education Week, 1 Feb. 2011. Web. 20 Apr. 2016.

Mid-Term presentation as Professional Development
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Professional Development Mid-Term Presentation: “Tell me about your work.”

Objective: As a professional in your creative career you will be called upon time and time again to talk about your work.  Your midterm project is to show 3 examples of your best drawing and talk about your work to a fellow student who is role-playing an employer.

You will work in pairs to show your work to a fellow student as if that student is a potential employer looking at your portfolio. 

Your partner will ask, “Tell me about your work.”  You will answer in a well-crafted 1-paragraph reply explaining your personal interests and the strengths of your work.  You will turn in a printed version of your 1-paragraph response.

These starter ideas are from a book that I recommend. Art-Write by V.K. Amorose.

1. Begin by introducing yourself with your full name and and your program of study.

2. To create your reply, brainstorm your ideas by using these starters. Fill in the blanks to think more deeply about your unique approach to what you are presenting to a potential employer.

I find inspiration ___________

_________________ is at the center of my art.

My work is a combination of ______________ and ______________.

I make connections between ____________ and _____________.

I was thinking about ___________ and I created _____________.

I value __________

My process ________

I am intrigued by __________

My observation of ______

My vision _________

Reflect the way of ___________

Brings focus to _____________

The question I ask myself _______________

Do not use all these starters, just the ones that fit with your personal approach to drawing.

3. Here are some terms that may help you compose a professionally-sounding dynamic short discussion of your work.
Read more...Collapse )

4. Write a rough draft and practice reading it to your partner. 
5. Use your partner’s feedback to craft a smooth-sounding, professional paragraph to use in your mid-term presentation.

Teacher Reflections:

This is the format of the presentation:

  • Student/artist puts work on display, in our case with magnets on the whiteboard.

  • Student interviewer pretends to by a representative of a company that the artist student wants to work for.  The interviewer greets the artist/student and introduces herself.  They shake hands.  The interviewer asks the student, “Please tell me about your work.”

  • The artist student tells the prospective employer about the drawings.

I have never seen such a change in student communication skills and seriousness of approach.  this improv idea from SXSW edu engages the students in pretending, acting, and role playing.  The quality of the presentations went up across the board.  Students were more comfortable in front of the audience.  The content of the presentation was more natural and more focused using this technique.

This assignment promotes the 21st century skills of communication and collaboration.


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