true colors - infographic

what your brand colors say about your business? Integrade your brand colors across the board.

color psychology in logo design - infographic

Our minds are inherently programmed to respond to color. They shape our thoughts and emotion.

The Psychology of Color (infographic)


Choosing right colors in web-design is an important part when you make something new. As usual, people rely on their own subjective thoughts, without thinking how important color is. Actually, every color has own associations. I think that this is very interesting and useful to understand the psychology of color.





Original source: The Psychology of Color

How To Create an Infographic

Here we go....

1. Collection: Collection of all the raw materials for the infographics – such as PowerPoint slides, White Papers, face-to-face interviews (multiple sessions), network diagrams etc. The more details you dive in and expand on in this phase, it’ll make it that much easier for you to develop the infograpahics in the later stage.
2. Identifying the objectives: Who are the target audience? What’s their range of technical knowledge? What are their main pain points? What we want to highlight to them? Its great if you can sketch a persona.
3. Classification: Grouping the infrastructures into physical spaces. Grouping can be done by process phases, physical locations, activities or be cause-effect based.
4. Blueprinting: Time to draw individual groups (pencil sketch) with the technical details. It’ll also give you a rough idea about the space you’ll have for textual description or labeling.
5. Space planning: Basically – doing a collage i.e. sticking together different A4 size papers – the photocopies of the individual groups.
6. Planning the interrelations: Between the groups. How the groups will be connected? The best way is to work with a theme.I choose the theme of a laboratory, then defined each group (process phases in this case) according to the theme in different visual metaphors.
7. Go digital: time to draw the infographic on the computer; we used Freehand and Flash. Any Vector graphics editor should do the job.
8. Integrate: the purpose of any infographic is to bring everyone to the same page and tell a complete story. Integration of different elements to tell a coherent story is the most vital step in the creation of an infographic.
9. Optimize detail: Add in the useful details, get rid of the extras, work out the balance between aesthetics and usability.
10. Labeling: Copywriting and inserting the labels; this is a tricky part – you need to be specific and clear whilst avoiding big chunks of text.
11. Coloring and Typography: Effective typography is not only for corporate identity or enrichment of visual appearance, it also helps you to represent the bound emotions of your graphics.
12. Iteration: Varying the colors, reducing the saturation of what is less important and increasing it for the most relevant data, modifying the typography, the size of fonts, eliminating everything that doesn’t contribute to showing and clarifying the data (irrelevant grids, redundant data, and unnecessary labels) without losing relevant information sometimes provides surprisingly improved results.

DANGER ARTIST AT WORK

Always remember that you need to work within health and safety guidelines when using materials. Scalpels and razor blades should always be used with care, and when they are not in use their blades should not be left exposed. Note too if any of the fluids you use are flammable or toxic. Bleach, for example, is a very handy and cheap method of removing waterbased ink, but it is very toxic and must always be handled with care.

Things you need for Oil Painting

1. Oil paint:
Obviously the first thing you’ll need is oil paint, and lots of it. For beginners, I’d suggest Winsor & Newton oil paint. It’s a less expensive brand of oil paint, but the quality is fine. As far as colors go, here’s a list of the must-haves:


Titanium White, Ivory Black, Cadmium Red, Permanent Alizarin Crimson, Ultramarine Blue, Pthalo Blue, Cadmium Yellow Light, and Cadmium Yellow. Buy each of these colors in 200 ml tubes except for Pthalo Blue—Pthalo’s pretty powerful so you probably won’t need as much as you do with the others.


Technically those are all the colors you need, but you should also get a few greens and browns until you learn more about mixing colors. Pick up some Permanent Green Light, Viridian, Burnt Umber, and Burnt Sienna to round out your palette.

2. Proper painting brushes: All you really need is a few natural bristle brushes in different sizes. I‘d suggest six: two small, two medium, and two large.

3. Turpentine (AKA paint thinner): Unlike watercolors or acrylics you can’t clean up oil paints with water. Instead, you’ll need to use turpentine or mineral spirits to get the paint out of your brushes (and off your skin).

4. Newspaper: Newspaper is handy to have around when you clean your paint brushes at the end of the day, but it’s also good to use WHILE you’re painting. Because it’s important to clean your brush every time you start painting a new section or switch colors—and that‘ll happen a lot in every painting. There’s no need to use turpentine for a full cleaning, just grab some newspaper (cut 4 inch squares ahead of time if you feel like it) and quickly squeeze all the paint out of the bristles. That’ll keep your colors from contaminating each other throughout the painting process.

5. Linseed stand oil: As you’re mixing colors you’ll find they’re easier to mix when you add a little painter’s medium. I usually pour out a few tablespoons of medium every time I sit down to paint. You won’t need much—just dab your brush into the medium before mixing colors. Medium is made by combining linseed stand oil with turpentine.

6. A charcoal pencil: Before putting any paint down, I’d suggest sketching out whatever it is you’ll be painting. Charcoal works pretty good on the texture of canvas (better than graphite, anyway) and it doesn't have to be perfect, just an outline drawing so you can see your composition ahead of time.

7. A “palette”: When it comes to palettes, you don’t have to be fancy. For a while I used a big piece of glass. To clean it, I just took a flat razor blade and scraped all the old paint off. Palette can be cleaned using wax paper.

8. Comfortable, messy clothes: If your clothes don’t start out messy they’ll get that way soon. Every painter needs a few painting outfits that they can get paint on, but make sure they’re comfortable too.

9. A painter’s easel: Every oil painter needs an easel but you may not need an expensive one right at first. At the very least an easel should be adjustable to your height (whether you like to sit or stand) and securely hold your paintings, whatever size they may be.

10. Canvas (or other painting surface): Canvas is great for painting on but if you’re just starting out, why not use paper? At least to practice on and get a feel for the paint. If you do use paper (or wood, or masonite, or any other surface) you should probably coat it with Gesso first, using a big house brush. When you’re ready to buy canvases, get a pre-primed canvas and you won’t have to worry about any preparation at all.

That’s the list! Good luck and happy painting!

extreme origami

extreme origami..no wait! no folding means its a paper sculpture.


True Creativity

Creativity is making something new and the way to make something new is to be you. We are each unique; that's how we were created. To be creative we need to know and love ourselves as we are. The way to know ourselves is to come to the place of stillness and peace—of oneness. That's where we find our true selves.

We need to be authentic which means being the whole of who we are—the happy and the sad, the good and the bad. We need to share our whole selves even when sometimes we'll be a bit idiotic—that's also how we come to know ourselves.

Creativity comes from our life experience, our own particular insights and know¬ing. It helps if we live our lives fully and honestly—we're creating from that place. We don't need to think too much to be creative; we just need to dive in and do the work. Diving in is our decision to begin. Ideas come in the midst of working. Shall we do it this way or that? Watch for the moment of insight, then act on it without hesitation. That's what it is to fol¬low inspiration. Toss out hesitation, doubt and worry. We need to be bold.

All artists take inspiration from other artists. Creativity is making new connec-tions between established ways of seeing too. We learn from each other. At first, we may imitate in order to understand and acquire skill or to internalize what's possible. But soon we need to strike out on our own or we'll only make second-hand art. We're more than that. We can set off on our journeys, like pilgrims—there isn't any final destination. The journey goes on, unfolding with each new exploration, one thing leads to the next.

To be creative means to be in the flow of vital exploration. Whatever we're doing, we can throw our whole selves into it. Why hold back? We'll feel alive and excited when we do our very best. We can't know what will happen in advance—we're diving into into the unknown. Who knows what's there? Learn to trust that there are gifts everywhere and look for those gifts. When disappointment or failure comes, and it will, find its gifts too. We each have our own art journey and life journey. The important thing is to be ourselves and to be happy to be ourselves.