GOOD VIBES ONLY
BAD VIBES LONELY
BY JESSICA A. DADZIE
BALANCE Balance tests are commonly used in clinical practice with applicability in injury prevention and return to sport decisions. While most sports injuries occur in a changing environment where reacting to a non-planned stimulus is of great importance, this balance tests only evaluate pre-planned movements without taking these dynamics environmental aspects into account. Therefore, the goal of this paper was to develop a clinician-friendly test that respects these contextual interactions and to describe the test protocol of an adapted Y-balance test that includes environmental perception and decision-making. Within the theoretical construct of balance and adaptability, balance errors were selected as outcome measures for balance ability and, visuomotor reaction time and accuracy are selected as outcome measures for adaptability. A reactive balance task was developed and described using the Y-balance test for the balance component, while the FitLight training system was chosen for the environmental perception and decision-making component of the test. This test protocol described a reactive balance test that added environmental perception, decision-making and variable motor responses as additional dynamic components to the construct of balance. Given the importance of adaptability in sports performance, this functional test can be of added value in the functional test repertoire to objectify the progress throughout rehabilitation or support return to sport decisions. The development of this test was a first step in incorporating the insights of adaptability into functional testing, but is still a long way removed from a real sports environment. Yet, this test could easily be used in clinical practice during the rehabilitation process as one of the first objective indicators of an athlete’s ability to maintain balance in a changing
environment. The RBT involved different levels of uncertainty and tests the athlete’s capacity regarding the combined components of decision-making, balance and visuomotor reaction time. The multi-layered approach of this test allowed for multiple outcome measures to be described, based on its construct validity. Visuomotor reaction time and accuracy were frequently used outcome measures in research towards neurocognitive functioning, often related to a non-specific task.
Hangtube Smile: You like it just tell me
In printing, the term bleed means printing that goes beyond the edge of the sheet before trimming. If your artwork goes all the way to the edge of your sheet without a clearly defined border, then a bleed may be required. This becomes the area to be trimmed off after printing. As a result, providing a bleed gives the printer a small amount of space to account for movement of the paper and design inconsistencies. Artwork and background colours can extend into the bleed area. Bleed ensures that no unprinted edges remain in the final product after trimming: Bleed is the zone outside the trim area, trim is where the product will be cut and the margin is the zone inside the trim area.
Bleed
Designers who thoroughly understand the printing process start by adding bleed to their design files when they set-up the document.
It is difficult to print exactly to the edge of a sheet of paper. To achieve this, it is necessary to print a slightly larger area than needed and then trim the sheet down to the required finished size. Graphics like background images and fills, which are intended to extend to the edge of the page, should be extended beyond the trim line to give a bleed. Bleeds in the U.S. are generally 1/8 of an inch from where the cut
is to be made. Bleeds in the UK and Europe generally are 2mm to 5mm from where the cut is to be made. As a result, some printers ask for specific sizes; most of these companies place the specific requirements on their website or offer templates that are already set to their required bleed settings. At Boelte-Hall, we also request that our customers allow for the standard 1/8 of an inch on each side.
A related effect appears in the perceived contrast among areas of different value within an image when the image is viewed against a light or dark valued background. The Bartleson-Breneman effect is well known in imaging studies: as the background becomes darker, the induced lightening in the image (called the “complex stimulus�) causes all the values to appear lighter; but this has the greatest impact on the darkest values, which compresses the value range and makes the steps between gray values appear smaller.
COLOUR
These hue shifts can often involve complex changes on both hue and chroma, but these can be conveniently worked out on a standard color wheel, according to the simple rule of the mixture of contrasted complements enunciated by Michel-Eugène Chevreul: if two colors are placed side by side, each color shifts as if mixed with the visual complement of the contrasting color.Both the yellow and turquoise should shift as if tinted with the visual complement of green, or purple.
DOM
Given the definitions above it shouldn’t be too hard to understand dominance as a design component. When you create dominance in your work you are creating elements that command attention and prevail over other elements. Every design should have a primary area of interest or focal point that serves as a way into the design.
INA
Every design should have a primary area of interest or focal point that serves as a way into the design. From the primary dominant element, design
NCE
flow can be achieved by creating elements with secondary and tertiary
dominance. Dominance relies on contrast since without contrast everything would be the same. You might even think of dominance as contrast in extreme, though it doesn’t have to be.
ENERGY worth of accumulated associations. In the world of identity design, very few designs mean anything when they’re brand new. A good logo, according to Paul Rand, provides the “pleasure of recognition and the promise of meaning.” The promise, of course, is only fulfilled over time. “It is only by association with a product, a service, a business, or a corpoWe decided to recommend a The answer, of course, is ration that a logo takes on any real meaning,” Rand wrote in straightforward sans serif font. context. The lettering in the 1991. “It derives its meaning Predictably, this recommenda- Chanel logo is neutral, blank, tion was greeted by complaints: open-ended: what we see when and usefulness from the quality of that which it symbolizes.” it was too generic, too mechan- we look at it is eight decades’ A while ago, I was designing the identity for a large, fashion-oriented organization. It was time to decide which typeface we’d use for their name. Opinions were not hard to come by: this was the kind of place where people were not unused to exercising their visual connoisseurship. But a final decision was elusive.
ical, too unstylish, too unrefined. I had trouble responding until I added two more elements to the presentation. The first was a medium weight, completely bland, sans serif “C.” “Does this look stylish to you?” I would ask. “Does it communicate anything about fashion or taste?” Naturally, the answer was no.
Everyone seems to understand this intellectually. Yet each time I unveil a new logo proposal to a client, I sense the yearning for that some enchanted evening moment: love at first sight, getting swept off your feet by the never-before-seen stranger across the dance floor. Tell clients don’t worry, you’ll
learn to love it and they react like an unwilling bride getting hustled into an unsuitable arranged marriage. More than anything, we want to proffer the promise of control: the control of communication, the control of meaning. To admit the truth — that so much is out of our hands — marginalizes our
power to the point where it seems positively self-destructive. This is especially true in graphic design, where much of our work’s functional requirements are minimal on one hand and vague on the other. “The pleasure of recognition and the promise of meaning” is a nice two line performance specification, but one that’s impossible to put to the test.
When we walk and we alone....
....I feel like something new
The spaces between repeating visual elements create the basic design principle of rhythm to form, similar to the way the space between notes in a musical composition create a rhythm. There are five basic types of visual rhythm that designers can create: random, regular, alternating, flowing, and progressive.
Rhythms can be regular, random, progressive, flowing or alternating. Classes of motifs or patterns include mosaics, lattices, spirals, meanders, symmetry and fractals among others. Random Rhythm is created when groupings of similar patterns or elements that repeat with no regularity create a random rhythm.
Loud and soft, dark and light, big and small. Each is a relative measurement of some quality on some scale. The day doesn’t exist without night and up doesn’t exist without down. Each exists in contrast to the other and contrast occurs on a scale. In design when we talk about the scale we’re usually talking about the quality of size, bigger and smaller, and the relationship of different design elements at different sizes. We’re also talking about proportion, which tells us how well we’ve scaled our design. Size, scale, and proportion are all related concepts. Let’s define them quickly and then talk about each in a little more detail.
The Love of Travelling... A love that you would travel all over the country to find. It’s just a story of searching for something that we all want in life no matter who we are and that’s a real genuine lover.
The editorial of Location has been complited by Graphic Designer called Jessica A. Awotwi Dadzie.