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11-02humssclassblog · 3 years

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✍️ Hassan, Jul-Jasmin E.

To be honest, this semester was a very challenging path that i will take on, especially we are in the midst of pandemic so we have to adjust and keep moving forward. Learning with this kind of situation must be very hard for us specially when we are only new to our subjects or courses. At first i find it so hard to cope up with my fellow classmates and teachers because for me, University of Makati has a high expectation to the students it gives me anxiety because i was so afraid to be left behind from my classmates, knowing that they were just in the same school in highschool while me on the other hand was different from them. It makes me feel like im alone and nobody wants me in my class.

But later on i manage to keep up with them i make friends and it gives me motivation to have a confidence when performing in class. I realize that they we’re adjusting too i just have to be brave and let my confidence go higher and make friends to them.

And of course i was very thankful that i have teachers whose very nice and very approachable. I highly appreciated them because they are also giving their best just to make us learn from them and one of it was Teacher Kat. Teacher kat is a very amazing teacher at all time i have learned a lot about his teaching especially in reading and writing because all i wanted is to enhance my reading and writing skills and also to learn the ways or the proper use of this.

The lesson that i enjoy the most was the Book and Article Critique and Resume and Cover letter. First is Book and Article Critique i enjoy this because i am that person whose addicted to books i usually read books and it’s happy to know how the author write it or how was it being made. It is important to critique a book because It allows one to build a criticism of a work: an awareness of the subject area of the work or related works. An understanding of the intent of the work, intended audience, claim creation, evidence structure or artistic style. A knowledge of the work's strengths and limitations. Whenever i do a book review it gives me the feeling of potential reader because a book review is a guide for potential readers because a book review or article review is a critical analysis of the material that describes, summarizes, and critiques the ideas presented. The purpose of a book or article review assignment is to broaden your knowledge base and understanding of a topic.

This lesson taught me about the essence of a book review and how to conduct pr create a book review. I also learned that in a book review you will learn not just the book itself but alao the author and the thinking or perspective of the author in the story. It gives me the idea of having book review is privelege for the author as wl as to reader. As the book is evaluate, the author may see errors he or she doesn’t know. It is time for him/her to continue improving their skill or if none appreciating their hardwork after finoshinh a good plot story. It also help other readers like me on having ideas of the book before reading it.

Next is Resume and Cover letter i enjoy learning this kind of topic or lesson because it gives me idea on how to make this in the future especially when i am going to apply for a job and they needed my personal information so by learning in this lesson it gives me idea on how to create a resume that will be needed for the company that i will applying on for the future. I learned that a resume is a written document created by a job applicant to outline his or her qualifications for a position. A resume is typically followed by a personalized cover letter in which the candidate shows an interest in a particular position or business and draws attention to the details of the resume that are most important. I learned that resume is not just you wanted to create it has a format and that format should be followed so that it would be easy to them to analyze it. It's more than just a document: it details your history, your talents, and your education so that a prospective employer can see how your individual experiences can contribute to the success of an organization quickly and easily. And also the cover letter when i was writing my cover letter i was so excited it feels like i am actually applying to cebu pacific airlines and i have this feeling of so much excitement in my heart because it was my dream, my dream job i wanted to be a pilot someday and having knowledge about this will help me in future because i will be able to apply this to me.

And yes, we become a better readers and writers by doing a lot of reading and writing but it is more essential if we study the proper ways to use it the proper ways in reading a text, article, books and etc. We should always know the proper ways how to write an article and book and we should not forget that by learning reading and writing it can help us in the future or maybe someday we can be a better person as well as better writer and reader. It was so amazing to learn all the topic here in reading and writing with the help of Teacher kat and her teaching skills i able to understand the topic and the lessons we had. Patience and interest in learning this would be helpful for us and make us a better writer and reader. In this course there are things that will help me enhance my ability in reading and writing it gives me more knowledge about it that i can use especially i’m a fan of reading and writing.

I am happy and grateful to learn this course because Teacher kat delivers it well and she is more approachable than the other subject teacher like even though she is busy she still manage to reply whenever we need her guidelines or when there are thing that we’re confused of. She was also a jolly person. She always teach us with a smile on her face showing that she was really dedicated on teaching us some lessons. I was very happy to be taught by you teacher kat i hope to meet you soon and to thank you in person. You’re beautiful inside and out maam! Continue inspiring students and giving so much knowledge to them.

I am ending this blog of mine with my favorite quote. Since then it was my favorite quote whenever there are things that i have to do or it was hard to do i always thought the idea of “strive for progress not perfection” because When you focus too much on perfection, you start worrying at every step. Your focus shifts to the possible criticism and failure. You become the roadblock of your own progress; but you strive for progress you start to succeed faster. And “Perfectionism is not the quest for the best. It is the pursuit of the worst in ourselves, the part that tells us that nothing we do, will ever be good enough that we should try harder.” -Julia Cameron and of course a picture of me smiling because i am deeply happy to become part of your class Teacher kat and i am so happy to learn anything from you! Kudos to your sacrifices and efforts on teaching us Teacher Kat! Hope to meet you soon stay pretty!

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juljasminhassan · 3 years

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✍️ Hassan, Jul-Jasmin E.

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blog-brand-strategy-consulting · 3 years

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ruaidhrimdx · 3 years

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Artist Legacy: Andrew William Loomis

In this text I will be discussing the life and achievements of Andrew Loomis. An individual who for some reason appears to not be discussed very much for someone with such a profound artistic legacy. Andrew William Loomis, typically referred to as just Loomis was an American illustrator, advertiser and art instructor. Loomis found remarkable success as an illustrator, his portfolio including multiple major brands such as Coca Cola, Lucky Strike, Redbook, Ladies Home Journal, The Post and Life Magazine. His career in advertising started off with designing streetcar posters with Street Railways Advertising Company in Chicago. Loomis enlisted in the US army following the declaration of war on Germany, he served twenty months with the USA and ten in France. When the war was over, Loomis returned to Chicago to work for The Charles Everett Johnson Advertising Art Studio and then Bertch and Cooper Studio. In 1922, Loomis opened his own studio, it was around this point he began working with bigger names. He would remain in Chicago until 1938, when he would decide to move to Southern California. Andre Loomis self portrait Part of the reason Loomis was so successful as an advertiser was his supposed ability to guide the eyes of someone viewing his illustrations to the focal point through strategic composition. These methods of leading the eye have been disputed, however. For example, Clare Kirtley states in her 2018 study How Images Draw the Eye: An Eye-Tracking Study of Composition “While viewers were attracted to the focal points, and spent the most time examining these, they did not use the entry and exit points marked by Loomis, and the suggested viewing paths were not closely followed.” (Kirtley, 2018) after testing this with eye tracking technology. Despite this, his theories are still used by advertisers and artists alike.Loomis ad for Coca Cola Budding artists looking to make a name for themselves began to contact Loomis for advice and critique, hoping to make a living out of art as he had. The growing number of artists asking Loomis the same questions spurred him on to publish multiple books explaining drawing techniques, anatomy, lighting, perspective, and art theory. “For many years the need of a further book on the subject of figure drawing has been apparent to me. I have waited for such a book to appear which could be recommended to the many young artists with whom I have come in contact. Finally, I have come to the realization that such a book, regardless of one’s ability as an author, could be written only by a man actually in the field of commercial art, who in his experience has met and countered with the actual problems that must be clarified.” (Loomis, 1943) Loomis was particularly notable for being able to convey a wealth of information in a warm and accessible manner, likely the result of his empathy towards beginner artists “I recall how frantically, in the earlier days of my own experience, I searched for practical information that might lend a helping hand in making my work marketable.” (Loomis, 1943) “Across this wide country, there are many of you in that predicament. You, also possessed of that unaccountable urge which comes from nowhere., want to speak the language or art. You love to draw. You wish to draw well. If there is any chance, you greatly wish to make a living at it. Perhaps I can help you. I sincerely hope so, for I think I have lived through every minute you are now living.” (Loomis, 1943) Loomis wrote a total of six books, of which are still being published and can be found for free online as PDFs. Their names in order of publication are Fun With A Pencil 1939, Figure Drawing For All Its Worth 1943, Creative Illustration 1947, Successful Drawing 1951(and its revised edition 3-Dimensional Drawing), Drawing The Head And Hands 1956 and Eye Of The Painter 1961. The Eye Of The Painter was completed by Loomis’ wife 2 years after his death in 1959.From left to right: The book covers of Fun With A Pencil, Figure Drawing For All It’s Worth, Creative Illustration, Successful Drawing. Loomis studied in New York at the Art Students League as well as in Chicago at the Chicago Art Institute. In New York he studied under George Bridgman and F.V. du Mond. He wanted to provide people with the information he had learned through his education and experience so they could choose to study independently. He had the belief that anyone could draw and have fun doing so, it was very prevalent in his literature. “MR. WEBSTER DEFINES DRAWING AS DELINEATION. THAT DOESN’T TELL YOU HOW MUCH OF A REAL “BANG” THERE IS IN IT. MAYBE HE NEVER KNEW. MOST FOLKS LOVE TO DRAW EVEN WHEN THEY KNOW LITTLE ABOUT IT. IT STARTED WITH THE CAVE MAN, AND STILL SURVIVES ON THE WALLS OF PUBLIC PLACES... BE-CAUSE IT’S SO MUCH FUN, AND SO EASY, IT’S A SHAME NOT TO BE ABLE TO DO IT BETTER.” (Loomis, 1939) He had a true love of drawing, and the desire to get others into appreciate it as much as he does. In his earlier books there was a particular focus on teaching with a warm tone and friendly demeanor such that his work could be easily digested by young people and novice artists alike. In Fun With A Pencil, this is achieved via the use of caricatures with humorous dialogue.Professor Blook, from Fun With A Pencil “Who am I? Oh, just one of Andy’s little funny folk. But I’m important! He gave me a job. I’m the spirit of the book, by jeeminy, big nose and all. I represent all the blue in here. My right name would be Basic Form, but that’s much too high-sounding. He thinks that name would scare you away. So he just calls me "Professor Blook’’ and lets it go at that. Now, I’ve got a few interesting things to tell you.” Above is Professor Blook, one of Loomis’ “Funny Men” used as a visual aid in Fun With A Pencil. Loomis would use him and his unique manner of speech to describe illustration techniques alongside diagrams and dialogue. Head Diagram from Fun With A Pencil Fun With Pencil is Loomis’ more beginner friendly book, his subsequent books deal more with theory and are directed at a more experienced demographic looking to develop their art skills further. The diagrams of the head in Drawing the Head and Hands has less focus on simplicity and accessibility than it’s predecessor in Fun With A Pencil. This book is one of the more advanced pieces of Loomis’ literature that takes the information from Fun With A Pencil and Figure Drawing For All It’s Worth, summarizes and further elaborates on it. His final book The Eye Of The Painter is one of his most advanced books directed at experienced artists and professionals. His books rise in difficulty from beginner to expert, there is a book for individuals at each stage of development as an artist.Head Diagram from Drawing The Head And Hands Loomis’ books are iconic and have been the backbone of many artists early development, the information in them is used throughout creative industries and institutions. He left behind a legacy of being able to teach yourself the fundamentals of illustration and to learn effectively. He pushed to inspire those who considered artistic talent as something you were born with to take up a pencil and learn for themselves how untrue that is. Loomis believed that “Talent is really a capacity for a certain type of knowledge and a consuming interest in the facts that contribute to that knowledge. It is significant that those who acquire knowledge easily seldom make as good use of it later on as those who had to work hard to acquire it.” Loomis in his experience as an artist recognized that there will always be people who confuse what is talent or native ability in creating art and what is knowledge of the craft gained through hard work. He claims that typically only those who put in the work to develop a skill can truly recognize talent in that field. Which is partly why he wishes to educate beginners on this subject. The books were out of print for nearly 50 years, until Titan Books re-issued them between 2011 and 2013. The years in which they were out of print, they were highly sought after by artists beginner and professional alike, nowadays his literature has been immortalized online so no artists will have to struggle to learn as he once had to. This information has become readily available, for anyone who wants it, something I’m sure Loomis would be pleased with. In conclusion, Andrew William Loomis left an immense legacy as an inspirational and skilled illustrator with a full and impressive portfolio, a career driven artist and by leaving behind the resources and information for artists to achieve similar success with less struggle. He made art a realistic and viable career option for a plethora of individuals and inspired countless others who might have shrugged off art as something that requires innate talent to put in the effort and have fun with a pencil. “There is no way to produce, except to gather all possible facts and work with them as you will” (Loomis, 1951)Andrew Loomis self portrait. Loomis, AL. (1943) Figure Drawing For All It's Worth. New York: The Viking Press, 15, Loomis, AL. (1939) Fun With A Pencil. New York: The Viking Press, 7 Cabrera, AC. (2017-12-08) William Andrew Loomis. Available at: William Andrew Loomis | Art and Influence (Accessed: 17/04/2021). Kirtley, CK. (2018) 'An Eye-Tracking Study of Composition', How Images Draw the Eye, Research Article, 1 Angela, R., 2021. 6 unsung heroes of design.(Ladislav Sutnar, Barney Bubbles, Pineles, Paul Bacon, Andrew Loomis and Ruth Ansel). Print(New York), (69), p.70. Loomis, AL. (1961) Eye Of The Painter. New York: The Viking Press, 141 Loomis, AL. (1951) Successful Drawing. New York: The Viking Press,

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codywalzel · 7 years

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The Emoji Movie (And Weak TV/Movies in general)- A Entreaty to Cut the Snark

(In a public forum anyway, if you just want to goof off in conversation with friends, knock yourself out.)

So, if you’re drafting your scathing tweet for whatever the current week’s freshly released and much hated property happens to be:

Please don’t. Take Emoji, for example. First off, I didn’t work on Emoji. I have many friends that did during my time at Sony, but this essay isn’t for their sake. I would have worked on Emoji if offered for reasons I’ll get to later, but for now let me start with this: None of the respectable artists that worked on the film wanted it to turn out how it did. Business people with only a secondary interest in art controlled a product, with which they hoped to make money, and guess what, it worked. I’m not trying to throw executives under the bus here either. Executives, whose job is to make money, not to make “good” movies, don’t always the time or budget to assure quality. And honestly, even for the world’s best filmmakers, with infinite budgets and complete control, quality is never a certainty. So, especially in a time crunch, with a full slate, and unproven filmmakers, quality is not necessarily the best business plan for execs. At least that’s the perception to many of us working on a project, and I can see from their perspective the logic that stance. It’s a, “I don’t care if the fart joke is stupid, kids will LOVE it!” kind of thing. Often, sensationalism and even bad press can actually be a good business plan, because that assures the movie won’t be buried. Kids like poop jokes, and adults want a ticket to the train wreck. The decision-makers on the film probably leaned into the low brow as an allure for the marketing campaign, making it a far more visible film due to all the negative buzz surrounding it. The producers don’t care if they’re serving McDonald’s or filet mignon, they’re playing a completely different game, and it’s about getting butts in seats at any cost. Incredibly talented artists fought hard to make the most of a bad situation, and as is usually the case, were outvoted time and again by money, because money had completely different goals. I’m in no way advocating an acceptance of mediocre filmmaking, or a lowered set of expectations for your media consumption. I am, however, trying to make a case that the culture of snottiness, and smug, side-mouth “witticisms” is one of misspent energy, presuming your goal is to help contribute quality art to the world.

The reason I say not to waste time crafting some cutting diatribe is, the public negativity won’t ever hurt the execs, they won’t see the criticism, and they don’t care because the movie did fulfilled its financial responsibility as a product. But the artists who try and fail to make good movies take the brunt of all the negativity and snark that gets thrown out there. Even though filmmakers will likely never see your specific post, every bit of nasty amateur commentary contributes to a general culture of creativity-stifling artist bashing. Although we should always hold professionals to the highest standard, you have to try and be realistic about the amount of control they have on a project like this. This is not to say you shouldn’t recognize crappy choices for what they are, go ahead and notice what doesn’t work about a movie. Professional reviewers can and should dissect a work’s failing. But, there’s no point in taking so much glee in throwing rocks in the town square. The world just really doesn’t need another sick-burn Tweet featuring your “hot take” on the movie. We get it. You’re smart and the filmmakers are dumb. Your opinion is the same as everyone else’s, but you worded it slightly differently, so that 160 character Twitter review that starts with “Apparently…” and oozes smarm from there is better off left in the drafts. This type of schadenfreude is among the nastiest behaviors to which creatives regularly subject each other. To be working on a very visible project means that almost every artist on that film or show has legions of fans that adore their original work, and an entire industry to speak to their talent. Yet so often I see the artists themselves, and not just the one work, lumped together in the public eye as “the idiots who made that bad thing.” You might ask, “Why would they take that crappy job then?” For the same reason people who haven’t make it into the industry yet take jobs bagging groceries: to pay rent, to support their families, to pay for classes to improve themselves, or just to get them through to the next, better job. It’s not every day that the Iron Giant or Finding Nemo is staffing up, and you never know what kind of project a movie is going to turn out to be going in. So many huge successes fought their way to greatness after an incredibly rocky start. And many movies at a promising studio, with a great premise and solid leadership, end up being terrible. There’s no way to know going in. If you truly think you’re the exception to that rule, take out a loan and open a small studio, because you’ll be the most successful figure in Hollywood history if you can predict a hit every time.

Everybody knows now that the Emoji Movie is bad at this point. Any of the slew of amateur ”reviews” now will just be a race to the bottom, another rotten cabbage to throw at the guy with his head in the pillory. In these situations it feels like all the sassy internet hecklers, many of whom have little or no relationship with the process of actually making films, are lining up to kick a downed opponent, and make themselves look like a tough guy. Each slam is looking raise the bar on the new meanest possible insult, “_____ (movie) was so terrible it made me want to kill myself with my own ticket stub through a thousand tiny paper-cuts”. The desperation of scrambling to find a “hot take” on an exhausted property is palpable. So many Facebook Status “Film Gurus”, Youtube Movie Ranters, and the ever scholarly forum commentators, are always at the ready to weave a mixture of diatribe and condescending, film-school-freshman lecturing. There’s this ever present tone of “if they only knew these obvious filmmaking truisms, they’d be smart like me, and make better movies. Please, please when will a producer drift into this forum, recognize my intelligence, and give me movies to make instead?” They then usually proceed to lay out some “rules” they’ve read from various screenwriting books. Rest the rules, because I guarantee you that the artists involved in these films read the same books. The filmmakers are just as big of film buffs as us, they watch all the same shows and movies, and they study filmmaking theory through books, blogs, criticism, and movie absorption the same way we do. Yet, with all their knowledge, you still get this kind of “bad” movie, which just shows you how hard it is to make a movie work. There is a harsh reality to showbusiness’ balance of commerce and art: a businesses’ goal is profit, and Hollywood Filmmaking is a business. Here’s a shortened example of what it might take to get a “good” movie made: 1. Someone makes it through the long and cut-throat-competitive thresher of endlessly pitching their ideas. For the sake of condensing many steps, we’ll cut to the part where the project is the 1% that makes it through development hell, and we’ll say the filmmaker survives their 50/50 shot of being replaced by the studio for someone they like better. 2. The filmmaker convinces the studio that “quality” will be a factor that earns money for this movie, and not one of a many possible marketing directives. 3. The filmmaker is also able to assure those footing the bill that they can achieve quality, and in the process get enough creative control to make the thing work. That often includes either convincing a studio that your ability to execute a vision is superior to theirs, or tricking them into thinking both of your visions of the movie are the same, and quietly seeing how many of their notes you can hide under the carpet while you and your trained creative team actually make it work. (On rare occasions execs are either excellent collaborators, or trusting enough of filmmakers to let them do the creative work they were hired to do.) 4. Assuming the filmmaker is able to settle the control issue, and wrestle the steering wheel from the people whose money they are spending, then the filmmaker must then have been correct about their vision being a good one that will work on screen. 5. Finally, if the stars align, then the millions of moving pieces that make up a film/show are somehow kept from falling apart. If all those fragile pieces work in unison, and nothing major changes with the leadership at studios, or the state of the industry as a whole, the project has a chance of being “good”. Even then, there’s no guarantee that “good” thing will make money. On every project I’ve ever worked on, even the ones I’m proud of, the whole is so much less than the sum of it’s parts. Sometimes I already follow every person I work with on a project on social media when I come in on the first day. There are usually talented people in every department, an all star team, but the project is almost never an all star result. Sometimes it’s not even something I would watch.

Due to the safety and reach of the Internet, the culture of “critiquing” filmmaking has given every basement dwelling cynic and film school sophomore an outlet for their bitter condescension. I think this has led to the general impression that the most important thing that critics do is tear movies apart. I’ve even seen actual, professional critics resort to a kind of schoolyard rap battle to see who can deliver the most crushing blow to a film. But, the most acclaimed critics in film history spent much their time championing films they love- celebrating successes rather than brutally attacking failures. People like Roger Ebert and Leonard Maltin became legendary figures in film history by using their influence to introduce the world to filmmaking that might have otherwise gone overlooked. Hate what you want. Bash what you want. I’m not going to try and fight some crusade against internet flame culture. But, since so many of the people who so joyfully hate on films online claim a passionate love of cinema, just know that a horde of nasty tweets doesn’t help cinema in any way. Way more terrible movies are made than great ones, that’s both the law of averages, and a sad reality of the business. So, although one can learn just as much from a bad movie as a good one, keep it balanced- If you find that the goal of your criticism is to dog-pile an already hated property, I'm begging you to choose again:

-Be the bold person to articulate dissatisfaction with a beloved movie instead.

-Or champion the strong parts of a despised movie.

-Or even continue in the awesome tradition of Tony Zhou, by doing the hard work it takes to neatly point out successful things a strong movie accomplishes.

-But most of the time, if you're in such a bitter mood that you want to publicly slam a bunch of strangers, your best option is to bury that opinion deep, deep inside of yourself, log off of your computer, and go deal with whatever is making you so angry.

#ask #movies #criticism

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mediamonkey29 · 7 years

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Album Review: Fifth Harmony by Fifth Harmony

Fifth Harmony released their third studio album on August 25th. This is the first album since the departure of former member, Camila Cabello, and many questions surrounded the remaining members, including whether they would carry on as a foursome and what direction their music would go. Their self-titled album, Fifth Harmony, is a response to all of the questions and it is clear that the foursome are stronger than ever and ready to continue their incredible musical journey. For all those readers who don’t know about Fifth Harmony, you can read the Artist Spotlight on the group here

Now, to be perfectly honest from the get go, I was not a Harmonizer (their fan base name) before listening to their album. I hadn’t ever heard an entire album from them. Yes, I liked them on X Factor and knew then that they would be successful, and I have heard some of their hit singles, but beyond that, I’m not sure why, I never really paid attention (sorry!). However, this gave me an unbiased viewpoint when listening to this album and if you’re curious as to what I thought…keep reading.

Track 1: Down (feat. Gucci Mane)

The album starts with their first single and the only one that has a feature artist. Their previous album had a ton of features but this album is all about their voices. The track has a cool beat and features a pop/rap fusion that has become popular in many hit tracks. Gucci Mane does a good job but after his verse when the chorus takes off, it gets really good and hits its groove. It’s got a catchy chorus that makes it memorable and a good single choice. However, with a running time of only 2:45, it’s not the best lead off single choice on the album because it’s a really short track for a song in general.

Track 2: He Like That

This is their second official single off of the album and it probably should have been the first, since it really is one of those perfect songs of the summer. The song starts with a strong beat and captures your attention. The chorus is so infectious that you can’t help sing along and it’s one of those fun songs that just makes you want to break it down and dance. All of the ladies get a solo that highlights their individual voices and I love hearing all of their unique tones and qualities. This is the kind of song that you have to pause in order to write up a review because you can’t help but sing along. ¯\_(ツ)_/¯

Track 3: Sauced Up

Sauced Up is what you would expect from the title. It’s a cool, mid-tempo track with a club vibe that would be a perfect night out kind of song. On first listen, it wasn’t one of the tracks that caught my attention, but the more you listen to the song, the more it grows on you. Soon enough, Sauced Up will start playing and you will be having fun. This could be a dark horse hit on the album.

Track 4: Make You Mad

I really like this track. It’s just one of those songs that you find yourself jamming to anytime it comes on. It’s saucy (sorry, I’m still under the influence of the last track), and just has such a cool, low-key beat that makes you get lost in it all. My only complaint is that it’s too short. Seriously, it’s 2:55…Why are the tracks so short??? No more 2 minute tracks, okay?

Track 5: Deliver

Deliver keeps with the consistency in terms of the song style and tempos already presented in the album but definitely showcases a stronger R&B style. All of the members have a strong performance on this song and once again their individual qualities truly shine. This song doesn’t stand out for me as much as some of the others (He Like That, and Make You Mad) but it’s got a good, cool vibe and it’s another one that has been growing on me the more that I listen to it.

Track 6: Lonely Night

This song brings the sass and it’s got a such a wide range of different productions that you just have to sit back and appreciate it. On first listen, I wasn’t sure what to think but it’s another one that has definitely grown on me. One of the highlights for me is the way that the group’s vocals come together in this track. Their voices just meld together perfectly and each individual quality still stands out but in a way that highlights each other to bring out the best in one another. This track must have been fun to work on in the studio.

Track 7: Don’t Say You Love Me

I confess, I don’t usually like most slow/slower tracks on albums because I’m usually in the groove having fun with the up tempo songs and the slower tracks just mess up with that groove. However, Fifth Harmony is something special because this song is one of my favourites on the album. It’s not your typical “slow song”/ballad but the lyrics are vulnerable and the track starting with Lauren’s raspy, cool tone just makes you feel the lyrics right in your core. All of the girl’s individual voices are showcased so well and they each bring a level of emotion and vulnerability that you can feel in every word. Their harmonies also shine. This is another perfect example of their individual qualities highlighting one another and bringing out the best in each other. It’s a beautiful and heartbreaking song that can take on so many different meanings. It’s just perfect. This needs to be a single.

Track 8: Angel

We go from a heartbreaker back to the party with this song. It’s edgy and Skrillex and Poo Bear did not disappoint in their production. The first verse belongs to Normani and she shows off her range with note transitions that are so smooth just delivered with the perfect amount of power to set the tone. Lauren’s voice comes in next and her raspy tone elevates the dark edge and tone of the track. Ally gets the second verse and if you know Fifth Harmony, you know that Ally is pretty much just a giant ball of sunshine. However, she shows her range in this song by really showing that she can hold her own in an edgier track and she also elevates the track with her vocals. Dinah gets the final solo she just showcases another level to her voice. She’s got the range on display in every track but this song shows that she can also deliver the attitude. The girls vocally shine and it’s got a really great vibe. You can’t not get into this when you hear it. Warning: If you listen to this track, you will feel like a boss. Just saying.

Track 9: Messy

Another slower song and another one that I love. When you just slow it down and showcase their vocals, you realize how incredibly talented they all are and how they each bring something different, vocally, to each track. Normani described Messy in an interview with Official Charts as a song that showcases their vulnerability and I think they need more songs that highlights that because they are incredible. They sound incredible and they sing the chorus together in this track and it is just magic when their voices come together in harmony.

Track 10: Bridges

This is the final song on the album and what an incredible message to end on. With the world seemingly in disarray and conflicts being highlighted every day on the news, this song reminds us that we are so much more than the conflicts and differences. Not many artists have the guts to delve into the political realm and deliver such a powerful message, but what I’ve come to learn hearing this album and learning about these phenomenal artists is that they are not afraid to let their voices be heard. This is a unifying anthem that reminds us to build bridges and walls, connect to one another and not be divided. If anything, this track reminds me there’s still hope out there. There are still people out there that are against the division and the hate. It’s a powerful song and another example of the power of music. They all deliver with power and sound incredible.

Overall

The overall vibe of this album is a pop/R&B fusion with cool beats and party songs. However, there are some standout tracks that really elevate the group’s overall sound and showcases them as artists, which include Don’t Say You Love Me, Messy and Bridges. They debuted at #4 on the Billboard charts and with the right promotion and single choices, they could capture some attention on the airwaves. My biggest critique of the album is that it’s too short. They have a total of 10 songs and the run time is only 33 minutes. This group has a lot of potential and the ability to carry on as a foursome, and they’ve already shown that they are able to stand tall in an industry filled with an immense amount of talent. They are discovering their new sound and with the right songs, I truly believe that they could be future Grammy nominees and even winners.

As I mentioned at the start, I wasn’t a big Fifth Harmony fan when I first listened to the album on August 25th. I thought they were talented but nothing really made me take note…until now. I’ve been listening to a lot more of their music and I am pleasantly surprised by their individual talents and how they come together so well. I’ll be writing more in a spotlight feature but I think it’s safe to say that I’m now a fan.

You can get their album on iTunes or stream it on Spotify.

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liqvidguilt · 5 years

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HENERAL LUNA: A Critique by Justine Macachor, DFM1

The film that I have chosen to critique is the film entitled Heneral Luna (2015); directed by Jerrold Tong and starring John Arcilla, Mon Confiado, and Epy Quizon. Overall, as a film that addresses our country’s very potent history with the Americans, I really enjoyed watching it and do hope to see more local films with production value that meets this one’s, and with as much educational value as well. It’s not often you see a film like Heneral Luna, tackling historical events, achieve such massive box-office success.

Heneral Luna is a film surrounding one of Philippines History’s most brilliant soldiers, General Antonio Luna. The story is anchored on his life as the general who attempts to lead the Philippine Revolution against the American army in pursuit of freedom, amidst the raging disputes happening between his fellow countrymen.

Some elements that I appreciate from this film include the fact that it did not fail to miss out on any details regarding the oppression that we as Filipinos experienced at the setting of these historical events. The portrayal of the characters and their respective emotions felt raw and genuine, and they really made me feel immersed in the issues they were facing during the war against the Americans. Inasmuch as the sequence of events, I thought they were organized In such a way that effectively got the message of the film across to viewers. The setting and music exhibited the timeliness and accuracy of the events, as well as evoke in the audience the emotions it intended to evoke. I believe it truly did its job of rekindling a sense of nationalism within modern Filipino audiences.

Although the film had several high points, there are certain weaknesses I would like to point out; namely, that the film associates the principles of nationalism, patriotism and the like with such violent sentiments – wrath, resentment, vengefulness. These principles are shone in such a negative light (reasonably so, as the producers were simply trying to depict events of the country’s brutal past), that younger audiences may not be able to grasp the true meaning of pledging allegiance to one’s country. This being said, the weakness in this film is its failure to guide audiences of today’s generation of Filipinos how they can show their sense of nationalism without having to follow in Luna’s and our predecessors’ footsteps of ruthlessness and inclination to war.

“Negosyo o kalayaan? Bayan o sarili? Pumili ka!” This is one of Luna’s lines that stayed with me throughout the duration of the film. It is a reminder of his devotion to the revolution, but it is also evidence that points to the weakness I named previously. It exemplifies Filipino ethnocentricity and the reasoning that dominating other nations must come before our individual welfare.

“May mas malaki tayong kalaban sa mga Amerikano–ang ating sarili." This is a line that speaks volumes as to how Filipino culture entails struggling to reach a unified goal due to our innate need to argue on the simplest of matters. This is what ultimately lead to the demise of the general himself – his arrogance and need to defy others in pursuit of the war.

"Mas madali pang pagkasunduin ang langit at lupa kaysa dalawang Pilipino tungkol sa kahit na anong bagay." This is a line that shares the same train of thought as the last one, exhibiting the Filipino tendency to assert him or herself and dispute over matters that can benefit us as a nation.

“Malaking trabaho ang ipagkaisa ang bansang watak-watak." This line speaks of the evident pattern one can observe throughout Philippine History – that the country struggles to stay unified. It is apparent, even today, that Filipinos are divided in many aspects, and it’s going to take the drive of each individual citizen to achieve a real sense of unity.

"Walang naka-aangat sa batas...kahit pa president." I’d like to think that this line is a nod to our current president of the Philippines, as well as to the recurring phenomena of incompetent and amoral officials that the country has had to endure.

Heneral Luna was a provocative and insightful film that I cannot recommend enough for people to see. It has its minor shortcomings, but I believe it is a work of devoted Filipinos who just want to their fellowmen to see the veracity of our country’s colonial history and spark some fervor for the country in them; and I guarantee that the messages that this film has to offer are worth hearing and watching it for. I urge anyone, but most especially my fellow Filipinos to see this film; not only for you to be able to open your minds about our rich history, but because it is important to patronize our local artists and filmmakers, and this is definitely a movie that brings pride to the Philippines and showcases some amazing Filipino talent.

#for school

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teamplushr13 · 5 years

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hr staffing solutions in bangalore

Recruiting and Managing Creative Talent to Inspire Innovation

Technology and organizational strategies today are bound together in a world striving for performance improvement. It’s hard to dispute that every company has, in a sense, become a technology company. The digital world drives the hr staffing solutions in bangalore material world to a tremendous extent these days. It’s a trend that shows no signs of slowing.

As economist Thomas Pinketty predicts in his groundbreaking work Capital in the Twenty-First Century, much of the economic growth we can expect to see between this year and 2025 will flow from advances in computing, artificial intelligence, data and robotics. Despite the positive impacts these developments could make, financially and functionally, there remain reasonable skeptics who have concerns about the income inequality and vocational losses this sort of mechanized society might create. They offer dire scenarios in which robots replace all human labor -- the only monetary gains going to those who own, manufacture or control the machines.

MIT Professor Zeynep Ton explains in The Good Jobs Strategy that these examples fail to paint a broader, more realistic picture. Even the most powerful systems require human input and judgment; a purely technological approach to work and civilization would eventually collapse. The relevance and importance of the human element can’t be ignored. Artificial intelligence (AI) can’t exist and grow without the context of the human experience to inform it. Cognitive scientists hr staffing solutions in bangalore refer to this discrepancy as the availability bias: people tend to place greater emphasis on information that’s easy to come by, such as data on a spreadsheet, rather than intangibles like the realities involved in the everyday interactions and operations of a business.

So as we scramble to keep pace with technology and narrow our educational focus on STEM skills, we’re neglecting the very important role that creativity plays in the process.

Creativity -- The Ghost in the Machine

It’s easy to succumb to the notion that scientists are stuffy, smock-wearing, bespectacled people who are obsessed with numbers and formulas. Yet without a creative impulse, imagination, vision and an understanding of society, it’s hard to believe that any real scientific accomplishments would have arisen. Science hr staffing solutions in bangalore requires creativity for continued innovation. No invention was envisioned without curiosity and ambition: the dreamer gazing at the stars in wonder, the biologist fighting to cure a terrible disease, the electrical engineer helping to overcome obstacles in the way of communications, and other pioneers motivated by a need to improve our quality of life.

This sentiment is articulately echoed by astrophysicists such as Neil deGrasse Tyson and Adam Frank. Both men of science not only acknowledge the necessity of the humanities, they embrace liberal arts as a crucial backbone to scientific achievement. In a recent piece for NPR, Frank advocated for the value of the arts in academia: “In spite of being a scientist, I strongly believe an education that fails to place a heavy emphasis on the humanities is a missed opportunity. Without a base in humanities, both the students -- and the democratic society these students must enter as informed citizens -- are denied a full view of the heritage and critical habits of mind that mae civilization worth the effort.”

Frank provides a solid reason for his conclusion: “The old barriers between the humanities and technology are falling. Historians now use big-data techniques to ask their human-centered questions. Engineers use the same methods -- but with an emphasis on human interfaces -- to answer their own technology-oriented questions.”

In the future, computers will probably assume a greater share of the work duties currently tasked to human talent, including programming and data analysis. We can’t presume that automation won’t replace or commoditize certain skill sets. Realistically, however, there’s a limit to what machines will be able to do. As Rally Health’s Tom Perrault observes in a recent Harvard Business Review article, “What can’t be replaced in any organization imaginable in the future is precisely what seems overlooked today: liberal arts skills, such as creativity, empathy, listening, and vision. These skills, not digital or technological ones, will hold the keys to a company’s future success. And yet companies aren’t hiring for them. This is a problem for today’s digital companies, and it’s only going to get worse.”

Technology and Creativity Play Well Together

Creative talent enjoy taking risks. They see these gambles as necessary systems of trial and error that lead to true innovation. Just like the world’s most renowned scientists, creative talent operate empirically. Missteps and failures don’t deter them -- they instruct them.

Not only do creative professionals take risks, they refuse to quit in the face of shortcomings, defects or even rebuke from colleagues, managers or others in their communities. They are inherently optimistic and see risks as opportunities. Henry Ford’s first vehicle, a motorized four-wheeled bike of sorts, failed. Miserably. Instead of throwing in the towel, he learned from the mistake and went on to hr staffing solutions in bangalore pioneer the Model T. While working for the Kansas City Star, Walt Disney was told by his editor that he lacked imagination and marketable ideas. Obviously, that harsh critique did little to stifle Mr. Disney’s formidable future achievements -- all symbols of imagination and clever marketing.

Of course, the interesting corollary to these examples is how both creative geniuses promoted technology, instead of working against it. Ford radically shifted methods of transit and work. He absolutely threatened the horse-and-buggy industry, yet his company created countless more jobs around the world. Ford also renovated the nature of labor with assembly line processes that delivered inexpensive goods to consumers while supporting high wages for workers.

Walt Disney is a grandfather of realistic audio animatronics. You can’t visit a Disney attraction and not marvel at the robotic characters at the heart of the rides. Yet, the magic of a Disney theme park isn’t all technology -- it’s the exceptional customer service and interaction provided by live talent. The same rings true for Disney and Pixar films. The leaps and bounds in computer animation technology never surpass the humanity of the stories, which comes from writers, artists and voice actors.

Hiring Creative Talent

Given the current employment situation, the fierce competition to secure skilled talent makes perfect sense. Yet the creative, intrapreneurial mavericks should not be omitted in the search. Creative workers can be the best hires for companies that are truly in motion, tolerant of change, serious about stirring the pot to innovate, and creating new environments that require a degree of risk and uncertainty. The creativity, drive and exploratory nature of these individuals help businesses discover and capitalize on new opportunities, break free from outdated and ineffective models, pioneer unique solutions, and avoid stagnation. They have the potential to be prized assets for a growing or rebranding company.

Sourcing creative talent is itself a creative process. Elite staffing professionals excel at matching the right talent to the right business culture, often deploying unconventional recruiting and screening processes. This is the job of staffing professionals -- one they consistently perform and refine. The best way hiring organizations, MSPs and their staffing suppliers can achieve client goals together is to focus on fit.

MSPs, when tasked with managing a program concentrated on change and innovation, should spend a greater amount of time during discovery and voice of the customer meetings to get a clear picture of the client’s existing culture, its ability to loosen structures and policies, and its comfort level with creative talent who may operate outside traditional team structures or approval processes.

MSPs and their staffing partners must spend extra time communicating about the realistic nature of the client’s culture and flexibility.

Staffing professionals, combining this information with their expertise in sourcing creative talent, can more easily assess the best fits between hiring managers and maverick innovators.

The MSP, after coordinating with its staffing partners on submitted candidates, must also be willing to champion these selections to hiring managers, making cases for non-traditional yet innovative talent whose pros outweigh perceived cons.

If there’s a theme for the direction of business in this century, it’s punctuated by a recurring buzzword: innovation. In its assessment of 2014 business trends, Forbes discussed how the lack of cultural change has suffocated growth. The old ways of doing things were discounted as “roadblocks to process improvements,” with “true breakthrough thinking” and recruiting “more progressive candidates” as the remedies.

Then, toward the end of the piece, Forbes put all its cards on the table and exposed the challenges openly. “Some companies are indulging in new processes for creative innovation, birthing some big ideas that could open new markets,” the magazine declared. “Many CEOs openly extol innovation… Yet, very hr staffing solutions in bangalore few really embrace it, acting on the most relevant ideas to truly advance their company. Change is nerve-wracking, but promising new ideas, tested in advance, can work wonders for almost any business.”

Machines and data can produce some wonderful things. Coming up with the next big idea that will lead to new iterations of these technologies -- that's best left to the dreamers, the philosophers, the artists and the creative minds behind the science.

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pauldeckerus · 5 years

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Why is Street Photography So Contentious?

As a street photographer, I accept that I have a bias towards the kind of work and criticisms I prefer to seek out as an audience to the work of others – although there are examples of landscape or portraiture that I do enjoy it is street photography and photojournalism that take up the majority of my interest.

I know that photographers and the photography community, in general, is a passionate one and that there is no shortage of critiques available for any work or opinion that creators choose to share. However despite knowing that there is criticism in every area of the art I still feel that some of the criticisms leveled against street photography as a genre as well as specific examples of street photographs are harsher than any I’ve seen in, for example, landscape, or portraiture.

Of course, there is no objective status for any kind of photography, so why does it seem that street photography is treated with more hostility and controversy than any other genre? I simply don’t see the same level of judgment in other genres – I couldn’t even imagine people questioning how “legitimate” landscape or portrait photography is, for example, and yet somehow there are people who will feel that it is a valid opinion that street photography simply should not exist. I disagree with this strongly, as well as the mindset where that kind of opinion can originate.

I’ve thought about this issue a lot, as I feel it is important to understand where criticism comes from and whether it can be used to improve my work in the field.

One of the obvious reasons that street photography receives so much criticism is that the term contains such a diverse subset of image types that any singular example is open to criticism as any one of these. A “Street Photograph” can contain elements of portrait, journalism, wildlife, landscape, fine art, and even macro or any other category. It can, therefore, be judged on the merit and balance of any of those factors. This can be an issue when, for example, a street photographer has captured an image which is mostly a portrait but features elements of a landscape – and is judged on the merit of the landscape aspects rather than the portrait.

I would argue that there are some fairly classical standards to measure the quality of a portrait – does the composition work, are the colors aesthetic, can you feel an emotion from the eyes, or tone, and so on. However what constitutes a “good” street photograph can be more difficult to define, and can involve only composition, or emotion, with other criteria ignored entirely in that specific image.

Even in the example of a street portrait vs a regular portrait, things like the role of spontaneity vs planned vision, the role of collaboration between the subject and photographer, and control/lack of control over the environment, and control over oneself and the camera I find are overlooked.

A street photograph is judged by the standards of whoever is viewing it, and if that person happens to have stronger opinions on how a landscape should look, or how a portrait should be presented, then that makes this hypothetical image entirely invalid. The rest of this article will be dealing with less ambiguous criticisms, but I thought it was important to deal with the role of the audience, and the way that “baggage” is brought by them to every criticism they present. No one image will ever please every photographer, let alone every armchair critic; accepting that is one of the most important things for an artist to deal with in order to come into their own, and find their voice unrestricted by others.

Repetition

One of the most common criticisms I see for street photography is that it’s “been done.” I think that this criticism can be valid, as many urban settings do look familiar – and there are even some “overdone” locations, which are popular for street photographers to visit.

In London alone, there is the Tate Modern, British Museum, and Barbican Centre which must host dozens of street photographers each trying to produce something unique from the location. I think that outstanding photographers will be able to produce outstanding work regardless of how played out a location is, and that there is always a new angle or a temporary element that can be manipulated for an image.

There are also “activities” in street photography which technically fit the genre but have nothing much to say; these include people standing around, crossing the road, or simply interacting with light. Good examples of these exist, with tension between elements and drama and mood from the light, but bad examples are far more plentiful.

The number of active street photographers is only increasing. Photography is one of the most democratic art forms there is, and the price of entry is already in the pocket of most people in the form of their mobile phone. In such a saturated field it absolutely makes sense that work start to seem to look the same. Of course, over time those outstanding examples will hopefully remain while the rest will fade, but operating during this time of massive oversaturation and being a member of the audience as and when this work is being churned out can absolutely feel monotonous.

I think that rather than being dissuaded from producing street photography I think that this should be used as an excuse to motivate yourself to become outstanding. My personal criterion for great work includes images with a tangible aesthetic, a storytelling component, emotion, and contain an unrepeatable moment. I have never settled for mediocrity in my own work and will always look for new ways to produce something engaging both for myself and for my audience. None of the examples I mentioned have anything inherently inartistic or bad about them, but they do dilute the selection and make it harder to identify the truly great work.

My suggestion for this is to become more active in the gallery scene, both as a photographer and an audience to photography. Exhibit your work in person and visit galleries as often as possible to support your peers. The work will be better presented than on screen and will be more likely to engage you as the gallery operator has curated it. I also encourage you to become more active in your local and global street photography community. Share your work through a blog rather than a social media site where you can discuss thoughts as well as share images. Feedback from these ventures is much more likely to be useful rather than scathing and you will feel better about the genre overall.

I also think that starting a long-term project is a great way to escape the monotony of repetitive work. By focusing work around a central theme or story, the methods and visual techniques being applied will mold and fit that content. The work will make sense when viewed as a collection as well as through standalone pieces, but the sense of monotony will vanish, as many aspects of ambiguity will be removed.

Many street photographers find that they are re-treading old ground, going through the motions of the “Greats” and that their work, while aesthetically beautiful, lacks their personal touch and as a result can feel like simple variations on a theme. I find that mimicking composition ideas can be a great way to learn new techniques that, once mastered, can be applied spontaneously to new situations. However this kind of work I would be loath to share or sell as it is nothing more than painting by numbers.

Over-Saturation

This is an expansion of an idea I touched on in the above point, but I think it’s worth elaborating on. Street photography is such an accessible genre, and photography such a prevalent art form that there is simply an incredible quantity of work being shared. So much work being generated does by definition mean that there will be more good work produced, but also means that there is a lot more bad and mediocre work to get through before finding those excellent images. Add to this the fact that many artists aren’t happy with achieving fame or recognition after their death and want to profit from their talent now which is easier than ever with some basic marketing skill.

Currently, the “best” street photographers you’ve heard of are the ones with the most successful marketing strategy. This is nothing new, and I find it really interesting that photographers as early as Ansel Adams have well-documented marketing strategies, which help explain why they are still so well enjoyed and long-lasting.

We are also subjected to a lot of work from beginners, which will likely suffer from many of the issues I’m discussing in this article. We should be able to measure our criticisms against these and provide useful and constructive responses to people who have clearly not been doing work in the genre for long, rather than tearing them down with the same ferocity you would critique the work of a veteran documentarian.

Uninspiring

Another common comment I read is that a particular image is “uninspiring” either because the content is uninteresting or that the audience is not particularly engaged by it. Again, this is quite a generic criticism for any kind of photography or art, and what is inspiring to one artist at one stage of their journey can be absolutely dull to another at another stage.

However, in street photography, an image can often be described as “uninspiring” simply because there is nothing interesting occurring in the frame. Many of the best unrepeatable street photography moments have elements of speed and spontaneity in the subject and required the fast reactions of the photographer to capture it. Many examples of New Wave street photography are much slower, towards the Fisherman approach rather than the hunter. If someone is not engaged by a piece of work then it can indicate that there is not enough tension in the composition, not enough moving parts to keep a viewer occupied.

I find myself annoyed by a common trend in the presentation of these kinds of uninspiring images, which is that often the story (sometimes entirely distinct from what is happening in the image) is written in the caption rather than show in the image itself. Some photographers seem to think that labeling their subject or event as something “definitive” or ambiguous that it will elevate it to that status, rather than going the more difficult route of actually capturing that kind of thing in the first place.

Using the Term Incorrectly

Although street photography is one of the broadest genres in photography, as discussed above; it is still a fairly well defined and understood one. The rise of the street as a “location” for things like street fashion and even street portraits would not have been as popular if not for some of the earliest street photographers.

Without wanting to gate-keep any specific idea of what street photography is or isn’t, I still find myself seeing images marked as or referred to as street photography when they simply are not. A studio fashion portrait of a posed and directed model wearing a streetwear brand is not street photography. An urban cityscape long exposure from a rooftop with the photographer’s legs dangling over the edge is not street photography. Without clear definitions and boundaries in our understanding of what we are trying to produce and share we will lose and dilute our audience and confuse people trying to start out in the genre.

Following Trends

This point is a little similar to the idea of repetitive work but directly focused on the echo chamber of social media. Sharing work on Instagram is very different from publishing a book or zine, or featuring in a gallery, and also entirely different from producing work for a client brief or assignment.

People often overlook the role that the social aspect of these sites have on the way creatives work, and it is difficult to ignore all of the little number tickers that tell you how popular you and your work are. Following trends are a great way to make that little counter move up as you contribute to a growing body of unoriginal and usually temporary work.

Instagram tends to be an echo chamber of trends so if that’s the only place you consume street photography then your work will end up reflecting what you are being most often inspired by, or what you think is popular at the time. Taking a break from this environment and just focusing on honing your own vision is the best way to tackle this.

Learning the trends can be an excellent way to learn new techniques or to incorporate a new style into existing approaches to street photography. Similar to my point about re-treading old ground this would not be work I would post until I was certain I had made it my own.

Breaking the “Rules”

In street photography, I find that photographers feel more comfortable breaking traditional “rules” opting to trade things like sharpness, depth of field, grain, motion blur, and even “good” composition, against emotion and “the moment” – going for the gist of a scene above technical and artistic perfection. These things are deliberately given up through the photographers chosen style, and yet when shared anywhere other than a street photography platform they are critiqued on all of these things.

Perhaps only the greatest are immune from this but there must be some way to communicate that many of the things people find issues with were deliberate choices and that you are viewing an image the way the artists wants for it to be viewed, not a rough draft that was posted by accident. I don’t think any photographer should receive negative feedback for sharing images that don’t follow a certain compositional style and should instead try and identify how an image makes them feel before they examine exactly what it may be made of on a more technical or artistic level.

However, I also think that the photographer should have an understanding of why they made the decisions they did and that they should be equipped with that understanding when it comes to defending themselves. If they can’t explain why they made something the way they did then by learning that they will be able to take control of their aesthetic.

Privacy

There are a few issues people have with street photography that are more related to the sociological factors rather than anything artistic. Street photography by definition involves actions involving other people, usually without their explicit “consent” which provides for consistent discussion as to the exact ethics of street photography. Many people argue that street photography is an invasion of perceived “privacy” of the subjects, especially when that subject is identifiable, or in a vulnerable state.

Although early street photography had equal issues unless those images became published in a gallery or magazine it was unlikely that they would be seen by many people, but the Internet means that any image has the potential to be seen by millions of people. This represents far greater “risk” to that subject’s privacy, and therefore issues like privacy are given more room in the conversation.

I think an interesting recent trend in street photography is an effort to preserve privacy by presenting subjects as anonymous through obscuring or silhouetting the compositions. This “New Wave” street photography is a little more “cinematic” and often lacks the personal touch of eye contact and relate-ability.

This preservation of anonymity whether conscious or unconscious on behalf of the photographer is something I find really interesting, and I’m sure after more thought I’ll have more to say on the subject. For now, though I think that it shows that there are forms of expression within street photography that are self-aware enough to take such issues seriously, and make aesthetic decisions accordingly.

Consent

Consent is an extension of privacy, and some street photographers do deal with the issue by approaching their subject after the fact and checking things over with them. It’s easier to ask for forgiveness than permission as the saying goes, and for photographers who choose for that to matter to them, this is an excellent compromise.

However, I think that many issues of consent have been rendered irrelevant due to the current state of public surveillance by both government and individuals – especially in London where I live and shoot most frequently. Anyone worried about privacy while out in public is deluding themselves in my opinion, and taking that out on street photographers is just a symptom of this constant erosion of feeling like you can go unnoticed in a crowd.

The artists’ intention does play a role when there is a specific idea being communicated in an image which might not reflect reality. I think that the best form of street photography is one that tells stories of hope and beauty rather than highlight ugliness or to make a mockery of someone.

Exploitation

One of the connotations of street photography that invades privacy is that it “exploits” the subject. This is especially prevalent in discussions regarding homeless people, who are unable to have the same level of privacy as the more fortunate. I can see how this would concern people, especially when it comes to profiting from such images but my own view on the matter is that as long as you treat others as you would want to be treated essentially no image is really off limits.

For homelessness specifically, I think that refusing to document such a pressing and damaging societal issue is the equivalent of “erasing” it from public discourse. The reason for choosing not to document such scenes in “everyday” street photography, which has no specific theme aside from the human condition, must go beyond not wanting to exploit the subject. We cannot pretend that these issues in society do not exist, and making images is the best way of keeping these topics not only at the front of street photography discussions but general discussions as well.

All photographers have a different moral code and will draw the line in different places. I don’t think it’s controversial to say that there are incredible examples of street photography that in some way exploit a situation, and equally there are terrible images that do the same. The best examples can elicit a response, and if that response is sympathy or empathy then such an image can do a lot of good. For bad ones, the response is usually entirely about how it exploits the subject if there really are few redeeming qualities about it.

Shock Value

Occasionally an image will be identified as having only one central intention – to shock the audience with its content. These are always interesting to talk about; as the discussion usually takes place around the value of the shock itself rather than the content of the image and the issues it may be dealing with – which sometimes have genuine substance.

There has always been an audience for controversial work, and I think people are drawn to creating and consuming that kind of work in street photography in the same way that actual photojournalism is drawn to the more violent or scary stories (just look at the last few years worth of World Press Photo winners to see this).

I think that street photography is full of all kinds of pieces of life and that controversial work receives attention due to the fact that it’s controversial. However, I also think that if there is something shocking in front of the photographer then they should not restrict themselves in that moment – and should make the image. Whether or not to share that image is then a decision they can spend longer on, and can even research to make an informed choice. I’ve recognized this hesitation in my own workflow and am in the process of changing that.

Photographer Attitude and Ego

Many people have an issue with specific behaviors and attitudes from street photographers that can have a negative effect on the way photographers are seen in general. There is more likely to be a confrontation between a random person and a street photographer than for example a landscape photographer, but the way that interaction goes will affect the way that person perceives most photographers they meet after that.

I don’t really have a solution for this because their behavior is not really a reflection of the genre of street photography, and it is more likely that outgoing people are drawn to confrontational styles of street photography in the first place. It is possible to follow the advice of my previous point, to treat others as you would treat yourself, and be a mindful and valuable member of your community as a street photographer.

To me, street photography is a way to identify aspects of the world that are neat or which speak to me, and sometimes those will take the form of a situation I will have to react to differently to my normal behavior in order to document.

I do have a strong opinion towards photographers who choose to conduct their street photography by employing bold and intrusive techniques at almost all times, whether the situation calls for it or not, and that is as follows: make sure you are not producing mediocre work. The end results must absolutely justify the means if it means causing situations that may affect someone else’s day negatively.

When it really comes down to using street photography to document your life and the lives of those around you self-censorship, both in the way you go about producing the work (by simply living your life) and sharing it, should not really be a factor.

Jealousy

Lastly, and this may sound cliché, it should be obvious that when some people find work that’s particularly outstanding in any field they will find reasons to put it down out of sheer jealousy. In street photography, it may be jealousy over the photographers capacity to consistently find and approach interesting characters, or live in a particularly aesthetic city, or even over the gear they are using.

Jealousy can be redirected into inspiration, through practice you can produce the same if not better as the work you were jealous of using the tools available to you.

I’m aware that everything I’ve discussed here is immensely subjective, and that your experience of street photography and street photography criticism may be entirely different from my own. Art is one of the most subjective topics there is, and art criticism will always be a difficult topic to tackle as an artist. I can only offer my own perspective on these ideas and hope that it helps aspiring photographers in any genre to deal with the way their work is judged and understood by their audience, and by themselves.

I also know that it is one of my longer pieces, and I’ve still only been able to talk about a handful of topics. Thanks for sticking with the article throughout, and I look forward to hopefully continuing this discussion and any others that may happen as a result.

About the author: Simon King is a London based photographer and photojournalist, currently working on a number of long-term documentary and street photography projects. The opinions expressed in this article are solely those of the author. You can follow his work on Instagram and you can read more of his thoughts on photography day-to-day over on his personal blog. Simon also teaches a short course in Street Photography at UAL, which can be read about here.

from Photography News https://petapixel.com/2019/02/27/why-is-street-photography-so-contentious/

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sailorrrvenus · 5 years

Text

Why is Street Photography So Contentious?

I’ve thought about this issue a lot, as I feel it is important to understand where criticism comes from and whether it can be used to improve my work in the field.

Repetition

Over-Saturation

Uninspiring

Using the Term Incorrectly

Following Trends

Breaking the “Rules”

Privacy

Consent

Exploitation

Shock Value

Photographer Attitude and Ego

Jealousy

Jealousy can be redirected into inspiration, through practice you can produce the same if not better as the work you were jealous of using the tools available to you.

source https://petapixel.com/2019/02/27/why-is-street-photography-so-contentious/

0 notes

0v3rlayy-blog · 6 years

Photo

Illustration

There are many sectors in the Illustration section of employment, for instance there is; advertising (“advertising posters, storyboards, press”), corporate work (“brochures, catalogues”), merchandising (”greeting cards, calendars, t-shirts, ceramics, etc.”), multimedia (”TV, film, computer games, websites, apps, animation”) and many more.

In all of these sectors there needs to be an aspect of liaising (a way of establishing a communication link between people) to work with clients, as well as editors and authors for an interpretation and understanding of the “business needs”. There will need to be negotiations for figuring out deadlines and prices for projects and staff/people in the business, as they everyone needs to clearly understand the brief (specifications included such as having to illustrate the text used in the artwork or having to re-search sources).

There is more than one way of creating artwork is involved with illustration. You could create pieces or images from using “traditional hand skills of drawing and painting, alongside other techniques, to meet design briefs.” For instance, you could use CAD ( a computer-aided design software) to create 3D visuals and see if the colour scheme or design or the product will end up looking okay or will have to be changed.

Though creating artwork is not as easy in the industry as one would think. You need to provide rough concepts or ideas to get an approval before you can continue with it. For example if the idea is not approved you will have to go back to the drawing board for a different concept that will be successful and allowed to continue forward.

It is quite different if you are working freelance and do not have an agent however. You are your own boss and will have to give yourself your own deadlines and critique for a piece, having to communicate with clients and individuals personally and sorting out all the financial process that comes with the job. Freelance can be hard but if you have a good income and can deal well with it, then you can make a lot of money off of it.

As well as the initial selling point of having a job in Illustration, you need to be on the look out for galleries to “find suitable venues to exhibit work.” And you must be able to “establish and maintain your reputation, it is imperative to keep to deadlines.” - this is a very important information as having to do so might result in crazy overtime and long hours to make sure a piece is completed and referenced to the required brief.

The roles and career paths of Illustration vary depending on where you want to go and become. You could work in a design studio where you can permanently work, as some studios do occasionally hire Illustrators for a secure job, or a part-time one. Some will work freelance where they begin to “discover a market for their talent and so receive many commissions”, though there will be a big chance of having to go through many rejections before you can get a substantial amount of commissions or obtaining a secure job. This includes having to deal with flaunting workloads - “from none to too many”. The amount of pay you get in your salary will vary and at the start will most likely be “low and irregular, according to the state of the market.” During this start-off period, many budding Illustrators will take on part-time jobs to sustain a liveable income and to support themselves. The most common areas where jobs are available are in a city “especially for illustrators without an agent.”

(https://www.prospects.ac.uk/job-profiles/illustrator) - reference for this post and the above information.

Code of Ethics/Fair Practice

1 - “Negotiations between an artist or the artist’s representative and a client shall be conducted only through an authorized buyer.”

2 - “Orders o agreements between an artist or artist’s representative and buyer should be in writing and shall include the specific rights which are being transferred, the specific fee arrangement agreed to by the parties, delivery date, and a summarized description of the work”

3 -”If work commissioned by a buyer is postponed or cancelled, a “kill-fee” should be negotiated based on time allotted, effort expended, and expenses incurred. In addition, other lost work shall be considered.”

4 - “Whenever practical, the buyer of artwork shall provide the artist with samples of the reproduced artwork for self-promotion purposes.”

5 - “Artwork and copyright ownership are vested in the hands of the artist unless agreed to in writing. No works shall be duplicated, archived, or scanned without the artist’s prior authorization.”

6 - “Commissioned artwork is to not be considered as “work for hire” unless agreed to in writing before work begins.”

7 - “When the price of work is based on limited use and later wok is used more extensively, the artist shall receive additional payment.

8 - “In case of copyright transfers, only specific rights are transferred. All unspecified rights remain vested with the artist. All transactions shall be in writing.”

(https://graphicartistsguild.org/tools_resoruces/the-code-of-fair-practice-for-the-graphic-communiactions-industry1) - resource used for information and quotes, and even though it is for graphics communation I think it has poingts that are relevant to the Illustration industry.

Below are notes and points on a job application that myself and another had to look and write about for class. The application we chose was for a place in Pixar as a storyboard artist. When coming up with points, for instance what skills would be good for the job, felt we had done a very good job - both having points and communicating with each other very well during this process. Time management skills for the task was also achieved really well, having all information and points needed for the class deadline.

Storyboard illustrator

Pixar animation studios - Emeryville, California

We need an experienced storyboard illustrator to join our team at Pixar animation studios. See requirements below:

Qualifications/experience

* BA degree or above in either illustration of graphic design (or an art and design)

* Experience working with clients

* Experience in drawing accurate and readable storyboards

Skills

* Strong knowledge of typography, image manipulation, illustration (very important)

* Excellent at working in Creative Suite (Illustrator, InDesign, Photoshop)

* Broad understanding of marketing design and layout

* Ability to generate a reliable supply of original ideas and visual concepts

* A general understanding of how colour, texture and placement

* Ability to keep up with trends so that the work appeals to people more

* Be well known with more traditional materials like paints, pens etc

* Understand and interpret requirements from the film/advertising concept

* An ability to understand complex or ambiguous production instructions given to the artist in the initial meeting

Qualities

* Open minded - to adapt ideas

* Able to work in a team

* Work well in fast pace situations

* Highly motivated

* Good with time management

* Excellent Communication skills

* Someone willing to learn new things and improve

* Reliable

* Creative mind

* A sympathetic approach to the time constraints of media production

Responsibilities

* Study the script to understand required mood and overall theme

* Consider camera angles and lighting to be used in the storyboard presentation

* Compose wireframe drawings from which the more detailed illustrations will be developed

* Complete colour or monochrome storyboards in full for use by production staff

* Edit storyboards and make changes as per the request of director or production team

Extra

* An excellent portfolio of work - a mix of digital and traditional

‘Disney Easter Egg Video Shows How Every Pixar Movie Is Connected’ from movieweb.com, sourced from MovieWeb [online]

Available from <https://movieweb.com/disney-pixar-easter-eggs-video-connected-universe/>

[26th May 2018]

‘Can you name all 18 Pixar movies in 90 seconds?’ from www.joe.ie, sourced from Joe [online]

Available from <https://www.joe.ie/movies-tv/can-name-18-pixar-movies-90-seconds-592806>

[26th May 2018]

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themegamenarablr · 6 years

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Ideas For Enhancing Talents Within Spanish Voice Over

By Roger Powell

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About the Author:

You can get a summary of the things to consider before picking a Spanish voice over artist at http://ift.tt/2qs891T right now.

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giveuselife-blog · 7 years

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100 Tips to Market Your Song - Component 1

New Post has been published on https://giveuselife.org/100-tips-to-market-your-song-component-1/

100 Tips to Market Your Song - Component 1

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Promo Tip #nine Publish your web link to online music directories, SERPs, right song resource sites, inside the exceptional viable descriptive class. Use niche websites like excursion date websites, the way of life, local, track magazine, music ezines, song Blogs and further themed websites.

Promo Tip #10 Use Myspace, Tagworld, Frappr, Facebook and any of the coolest social networks and extend your fan base. Update on a normal timetable.

Promo Tip #eleven Move past the social networks and sign on to the best indie and unsigned tune artist sites. Upload a full profile, desirable snapshots, your fine music, Replace the data often and DO no longer REDIRECT them with only a bit info to find out greater at some other website. Those indie communities are built to draw music biz personnel as properly, to browse for the talent needed for numerous projects. Even as you’ve got the visitors attention and time, have the crucial info proper there, don’t waste their time with a redirect link! Consist of a link for your major site, in the event that they want to Research greater they’ll go to it.

Promo Tip #12 Hand out your CDs (or demos). Have your web link printed on the CD. Encompass your band call and get in touch with info as nicely. consider, your name on the work is greater crucial than the name of the work. Hand the CD to membership proprietors that feature your kind of tune.

Promo Tip #13 Ship press releases and reviews of your indicate to nearby print newspapers, magazines, and occasion papers. While writing press releases, examine up on “press release suggestions” etc to tweak your presentation.

Promo Tip #14 Professional snapshots imply you’re taking your self-critically. All pictures on your press package must be excellent pics, now not simply your foremost bio photo. The money spent on a photographer that may capture your music “Photograph” is money well spent.

Promo Tip #15 Gather addresses and electronic mail addresses (email is free!) to preserve your fans contemporary on what You’re as much as. Whilst constructing your lists, try to list their location – town, kingdom, and zip with a bit of private input about that fan. That is a splendid manner to create an extra private and focused mailing list without bombarding human beings which might be to ways away to wait for a display.

Promo Tip #16 Exercise and Practice and Practice. Sturdiness inside the music enterprise way studying new things, continuously growing and continually improving.

Promo Tip #17 Zero in for your target. Recognize where they hang out, wherein they keep, what they do for fun, and hit them where they stay – online and off. Your target market for online song is a specific crowd of people so don’t waste time being where they are not.

Promo Tip #18 Play, play and play some extra. Get gigs in one part of town on Friday and another a part of the metropolis on Saturday. Do mini excursions outdoor of your city.

Promo Tip #19 Create your very own guide organization of the own family, friends, and college friends – talk properly with them to your plans and dreams to help spread the Word on you, in which you intend to move and the way you plan on getting there. Delegate obligations to the perfect humans.

Promo Tip #20 online Send out press releases and critiques of indicates via all appropriate websites.

Promo Tip #21 Get online airplay. There are a variety of indie radio webcasts, be a part of websites and do what You need to do to get at the playlists.

Promo Tip #22 Create a thrilling banner to drop on your discussion board signatures or different on-line places. Many message forums will-will let you leave a hyperlink and/or banner to your signature but don’t like blatant advertising and marketing.

Promo Tip #23 logo your name internationally and be ever aware of the Picture you want to paint whenever out in public or on-line. Whilst it’s in print, it’s everlasting.

Promo Tip #24 there is this sort of element as overkill, in that it is better to explain your band/tune as “we sound similar to the Beatles” rather than “we’re the biggest thing given that Led Zeppelin!” (or better than). So Word your description accordingly.

Promo Tip #25 The tune business is within the business to make money. In case your career is in music, Understand Whilst to be businesslike.

Promo Tip #26 Examine every vicinity of the commercial enterprise You are in. Knowledge is the strength.

Promo Tip #27 You must network. Meet human beings, get available, shake hands, pay attention to them as well and allow them to Know approximately your track. build those relationships.

Promo Tip #28 Be on pleasant terms with other bands and artists on your location.

Promo Tip #29 Create an “avenue crew”, online and/or offline…they are middle human beings that want that will help you, in addition, your Advertising efforts. Supply away free tickets, CDs or products in your street group as the incentive.

Promo Tip #30 Announce each music, every CD, first rate chart function, contest win, pinnacle sales on releases, announce something and the whole lot to live in the public’s eye. in case you can’t write a decent article up for the clicking release, get someone which could. Write a review of each gig and get feedback from nearby VIPs, fans, whoever matters and Consist of the first-class prices. Is it information worth? Write and promote it. Get the most mileage you could out of your promotional procedures.

Promo Tip #31 Never mail your CD without a cause or a touch man or woman’s call on it and expect miracles. a long way better that the contact character is aware of to anticipate your CD, his or her call is spelled correctly, and You are emailing it to a business enterprise that sincerely works along with your fashion of track.

Promo Tip #32 Put on your band! Get a jacket, t-shirts (and so on) and Upload your band call or brand on it. Put on it anywhere and be a strolling advertisement. If you have a gap fan base, consider a merchandise object that they want that of the path has your name on it!

Promo Tip #33 Create a thrilling band logo. It is able to be a communique starter or a potential contest query.

Promo Tip #34 be a part of a Songwriting Circle. This is a neighborhood concept (although it’s miles viable thru the Net), to satisfy with other songwriters on your very own vicinity and percentage your all songs. you may get remarks in your paintings, percentage thoughts and tips, probably collaborate on paintings, find out about what’s going on domestically, assist every different in lots of approaches. in case you desired to begin your own circle or search for one, you can use Craigslist for your desired or needed post. maximum ask which you be open-minded and devoted, with a willingness to pay attention and Supply remarks.

Promo Tip #35 Burn your pleasant tune as an unmarried. at the CD and cover Consist of ALL contact info, internet site, names, and many others and distribute that CD wherever you Go, without spending a dime.

Promo Tip #36 Have a custom vinyl vehicle wrap created approximately your all songs/band and positioned it for your automobile. OR a use a magnetic door sign on your vehicle will paintings as nicely.

Promo Tip #37 Go promote on the line to your net sites with nearby bands as well. You Provide them a lift on your website and they Supply the same returned to you. Ask different human beings to link in your all songswebsite online from their website!

Promo Tip #38 Introducing your band whether in individual or on-line has numerous similarity in speech writing strategies, in that You need to take hold of the reader or listener or viewer inside the first 30 seconds. Your commencing line desires to have punch, snag the target audience and reel them proper in. don’t forget the rock organization KISS and “Are you ready to Rock?!!” Find your attention getting the line and use it. do not fall sufferer to the much less inspiring, “um, hello guys, um, we’re the ‘Instance’ band…”

Promo Tip #39 Use Net class commercials as well as neighborhood newspapers to promote upcoming occasions and possible collaborations with others. Print papers and magazines need boost be aware so plan hence.

Promo Tip #forty Create an online publication, with the content of value to the receiver. This is a useful manner to keep fans informed on gigs, information, gossip, new releases and other extraordinary information. Ship out your publication approximately once a month.

Promo Tip #41 Be outrageous or controversial. Shock fee can work, however, It may backfire too. Can you maintain the Photo? It has labored for many but changed into a disaster for lots greater. Think this tip out.

Promo Tip #42 Create a fan club online and get them to spread your banners, links and offer content for them to unfold.

Promo Tip #43 Who’re the VIPs on your network – Who are the popular human beings for your region? Get to Know them, Provide them a unfastened CD and invite them on your display. When they talk, others will pay attention.

Promo Tip #forty four Create a video and get on YouTube. Area your video on all relevant video sites. Video Scrapbook (or Diary) your all songs band’s progress, accomplishments, and jam periods. This may make for good clips in other initiatives.

Promo Tip #45 Have a CD, virtual download and other merchandise for sale. Generate some income so you have something to put money into other regions of your Advertising and marketing effort.

Promo Tip #46 Have big name first-class but do not be a huge head. Allow human beings Understand You are Expert and feature the potential to be a long-lasting celebrity in this business.

Promo Tip #forty seven Never Junk mail electronic mail.

Promo Tip #forty eight Have a press package geared up to Send out or email. Has it smartly prepared with a brief bio, a brief description (approximately 30 phrases or less) on what you sound like, full-length bio, pleasant mix, tune samples, modern press releases and first-class newsworthy gadgets, music lyrics, radio airplay and chart role statistics, and precise touch data?

Promo Tip #49 be part of online music companies and newsgroups.

Promo Tip #50 Be a chunk mysterious, preserve lower back and go away them wanting greater. Timing is the whole thing for some info, releases, etc.

Promo Tip #51 Create a music slogan of up to eight words (much less is higher) that quick, accurately and in a catchy way describes your track in a real manner.

Promo Tip #52 Supply an assessment to get an assessment simply is the satisfactory policy but In no way brutality. Oftentimes someone will return the desire and it indicates your Information, your twist, on the all songs created.

Promo Tip #53 Print up posters and/or flyers approximately your upcoming display and post them wherever your type of fans could hang out and Consist of your net hyperlink, display date, call of CD, wherein CD can be bought.

Promo Tip #54 Get into podcasting and videocasting yourself or making your track available for podcasting.

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symbianosgames · 7 years

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The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.

Some of you have likely read Ed Catmull’s Creativity, Inc. The book dives into the creative process at Pixar and describes how the studio managed their creativity, which resulted in a seemingly endless string of blockbuster movies, and it provides insight into how Pixar maintained its creativity throughout tremendous growth. Reading the book had me reflecting on my own experience in game development, and pondering why some studios fare better than others, despite having fewer resources.

Now don’t get me wrong. I’m not pretending to be Ed Catmull. I have only 7 years of experience in the games industry and till date, I've only built one studio from the ground up. I haven’t worked in AAA studios or in tiny indie studios. But again, I do have experience in making free-to-play games for web and touchscreen devices in a few of the top studios and I’ve had the opportunity to work closely with some of the most talented people in the games industry.

So, what makes for a successful game studio that’s able to ship quality games and sustain itself in a competitive industry? Based on my experience, I’ve identified seven characteristics that make a game studio successful:

#1 Compact Teams

Large teams create middle management. The need for communications and various meetings increases significantly and engineers and artists can end up spending significant portions of their time in meetings instead of building the game.

The absence of ownership. In a compact team, every member cares about the quality of the game as a whole and bugs are spotted instantly. In large teams developers and artists concentrate on one individual piece at a time, failing to sometimes see how their work integrates into the game as a whole.

I’m an advocate of right-sized teams on a game project, starting very small in the beginning and conservatively scaling as the design becomes clear and there’s need for new talent.

In successful studios, game projects start off with an experienced and already gelled core team of four to six professionals and grow up to fifteen to twenty strong as the project moves from concept to pre-production, production and live operation. The growth of the team is organic as new team members get brought in on an absolute need-to-have basis.

For a couple reasons, ambitious team sizes actually slow down the development instead of speeding up the progress. Overall, look to stay lean and make sure that people who join accelerate the progress instead of slowing the team down.

#2 Value Software Over Presentations

Essentially a game team has only one goal: to create a hit. In the beginning progress towards the end goal is exhibited through prototypes and later on through internal and external playtests. Successful studios make fast progress towards first playables and start iterating based on the qualitative feedback these builds generate. In the end, the ultimate test for a game team is the soft launch during which the game has to reach key performance indicators (KPIs).

Studios must have the guts to shut down projects which fail to reach KPI goals or respond successfully to the qualitative feedback the team receives. Closing projects is important because launching a low-performing game globally can become a bad long-term decision for the studio as a whole. It can eat up resources that are needed to kick off new projects or support growing games.

Fast and tangible progress can be made and measured by playing ever-evolving internal builds. Putting emphasis on the playables gets the team into the groove of hitting milestones with builds that have been improved based on feedback. Regularly reviewed internal playables also boost teams’ morale and give a sense of progress towards the launch as the builds improve and feedback gets increasingly positive.

#3 Use Benchmark Games

Benchmarks allow the team to get a game built quickly and have it playable so that playtests and soft-launch data can start guiding the development.

In my experience, the more unique and complex the game becomes in development, the greater the risk grows. Successful game studios tend to limit the risk of over-innovation by choosing very clear benchmark game(s) from mobile, web or board game(s). With clear benchmarks, development done in pre-production and production is based on proven concepts, meaning that the features or systems the team is building exist in one or two reference titles. In addition to decreasing risk, strong benchmarks cut development time as designers, engineers and artists have a playable version to learn from.

Blizzard's Hearthstone is heavily inspired by Magic the Gathering. Designers of the game have been able to keep the deep deck building meta-game while significantly lowering the entry barrier.

Another approach to using benchmarks, though a bit riskier and time-consuming, is to first thoroughly deconstruct the benchmark game. After that, the team creates their own noticeably differentiated game based on the benchmark. Building on benchmarks is something Blizzard is extraordinary at with games like Hearthstone, which is based on Magic the Gathering; Heroes of the Storm, which used League of Legends as a foundation benchmark; and Overwatch, which is strongly inspired by Team Fortress.

#4 Play Your Games Until Exhaustion

Teams who love to play their game end up building a great game. Often, especially early on in development, it’s hard to play the game you’re building. The build is buggy and lacks most of the final art. Yet by constantly playing it the team ends up not only clearing away all of those bugs and nagging user experiences but also actually creating something that players will love.

In my experience playing the game to exhaustion is actually the secret sauce of tuning and user experience at many successful studios. Simulators help finalize the set in-game values. Play tests push user experience. The first step is always to play the game as a team.

#5 Respect Your Players

Our players are our fans. They play our games even more than we do. They create communities inside and around our games making them into phenomena. Successful studios aim to create games that not only delight their players but also challenge them.

If a studio doesn’t think much about their players it will show in the software. When product managers and designers consider players too simple to understand deeper mechanics, their game will lack meta-game and deeper exploration elements. Take away meta-game and you are left with repetitive loops and poor long-term retention. Losing the respect towards players is a dangerous path that not only hurts a game in development but can also kill a community around a successful game, no matter how much marketing is set to support it.

Companies like Riot, Blizzard, and Supercell invest heavily into their communities and carry deep respect towards their players. This allows these companies to create massively successful long-lasting games that are further elevated by strong communities around the game.

#6 Empower Teams to Make Decisions

Successful studios empower game teams to make their own decisions and carry the responsibility of decisions made. With both internal and external playtests game teams receive a steady stream of very harsh and highly actionable feedback. This feedback should then be converted into quantifiable milestone goals by the team leads.

When a team is empowered to make decisions regarding the development of their game, it increases commitment to execute as they’ve set the milestone goals for themselves. It also improves the quality of decision-making because once the decision is made there’s no one else to blame for the outcome. Finally, by empowering the team to make decisions, the studio enables teams to learn faster. Decision-making requires thorough analysis and with increased responsibility team members will end up making better hypotheses and action plans.

Letting teams experiment and fail is a tough call for studio leads, whose responsibility is to build teams and push them to launch hit titles in the shortest time possible. Yet withholding decision-making power from the team risks downgrading the game teams into pods with less ownership of the product they’re building. I’ve noticed that studio leads that challenge and listen create the best environment of empowerment and responsibility.

#7 Always Ship

Successful studios launch games that grow into hits. Surprisingly often, studios that have all six of the above elements don’t have the guts to pull the trigger and ship their games. These studios tend to be too critical towards their own work to a point where the critique actually hurts rather than helps the development. When critique starts chopping away the confidence of a game team it also tends to increase development time as changes and new features are added to cater to the feedback. Critique is crucial but I believe that the team also needs to stand behind what they believe is right rather than constantly adjust to the never-ending internal feedback.

A friend and ex-colleague of mine who has launched some of the absolute best games on both Facebook and mobile said that there’s only one way to fail in game development and that is by not launching anything at all. What he meant was that you never know if the game will be a hit or not. Sure, play tests give a good indication but in the end, it’s the market that will give the final verdict. Sometimes it’s simply better to release the game out in the soft/beta launch than to build out all the end game features in production just to witness that the end-game features don’t actually work or that the game can’t even hit its KPIs in soft-launch. In the end, the launch is just one of numerous releases the game will be making.

#IFTTT #Blogger

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teamplushr13 · 5 years

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top placements consultants in bangalore

Recruiting and Managing Creative Talent to Inspire Innovation

Technology and organizational strategies today are bound together in a world striving for performance improvement. It’s hard to dispute that every company has, in a sense, become a technology company. The digital world drives the material world to a tremendous extent these days. It’s a trend that shows no signs of slowing.

As economist Thomas Pinketty predicts in his groundbreaking work Capital in the Twenty-First Century, much of the economic growth we can expect to see between this year and 2025 will flow from advances in computing, artificial intelligence, data and robotics. Despite the positive impacts these developments could make, financially and functionally, there remain reasonable skeptics who have concerns about the income inequality and vocational losses this sort of mechanized top placements consultants in bangalore society might create. They offer dire scenarios in which robots replace all human labor -- the only monetary gains going to those who own, manufacture or control the machines.

MIT Professor Zeynep Ton explains in The Good Jobs Strategy that these examples fail to paint a broader, more realistic picture. Even the most powerful systems require human input and judgment; a purely technological approach to work and civilization would eventually collapse. The relevance and importance of the human element can’t be ignored. Artificial intelligence (AI) can’t exist and grow without the context of the human experience to inform it. Cognitive scientists refer to this discrepancy as the availability bias: people tend to place greater emphasis on information that’s easy to come by, such as data on a spreadsheet, rather than intangibles like the realities involved in the everyday interactions and operations of a business.

So as we scramble to keep pace with technology and narrow our educational focus on STEM skills, we’re neglecting the very important role that creativity plays in the process.

Creativity -- The Ghost in the Machine

It’s easy to succumb to the notion that scientists are stuffy, smock-wearing, bespectacled people who are obsessed with numbers and formulas. Yet without a creative impulse, imagination, vision and an understanding of society, it’s hard to believe that any real scientific accomplishments would have arisen. Science requires creativity for continued innovation. No invention was envisioned without curiosity and ambition: the dreamer gazing at the stars in wonder, the biologist top placements consultants in bangalore fighting to cure a terrible disease, the electrical engineer helping to overcome obstacles in the way of communications, and other pioneers motivated by a need to improve our quality of life.

Technology and Creativity Play Well Together

Not only do creative professionals take risks, they refuse to quit in the face of shortcomings, defects or even rebuke from colleagues, managers or others in their communities. They are inherently optimistic and see risks as opportunities. Henry Ford’s first vehicle, a motorized four-wheeled bike of sorts, failed. Miserably. Instead of throwing in the towel, he learned from the mistake and went on to pioneer the Model T. While working for the Kansas City Star, Walt Disney was told by his editor that he lacked imagination and marketable ideas. Obviously, that harsh critique did little to stifle Mr. Disney’s formidable future achievements -- all symbols of imagination and clever marketing.

Hiring Creative Talent

Given the current employment situation, the fierce competition to secure skilled talent makes perfect sense. Yet the creative, intrapreneurial mavericks should not be omitted in the search. Creative workers can be the best hires for companies that are truly in motion, tolerant of change, serious about stirring the pot to innovate, and creating new environments that require a degree of risk and uncertainty. The creativity, drive and exploratory nature of these individuals help businesses discover top placements consultants in bangalore and capitalize on new opportunities, break free from outdated and ineffective models, pioneer unique solutions, and avoid stagnation. They have the potential to be prized assets for a growing or rebranding company.

MSPs and their staffing partners must spend extra time communicating about the realistic nature of the client’s culture and flexibility.

Staffing professionals, combining this information with their expertise in sourcing creative talent, can more easily assess the best fits between hiring managers and maverick innovators.

Then, toward the end of the piece, Forbes put all its cards on the table and exposed the challenges openly. “Some companies are indulging in new processes for creative innovation, birthing some big ideas that could open new markets,” the magazine declared. “Many CEOs openly extol innovation… Yet, very few really embrace it, acting on the most relevant ideas to truly advance their company. Change is nerve-wracking, but promising new ideas, tested in advance, can work wonders for almost any business.”

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