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DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

1. Introduction

It may seem to be a far away approach if firstly I try speak about the visual stimulus in connection with a subject such as the mobile phone, which was made to present the visual design of these hopefully popular applications . However, I encourage the reader to linger a few ideas up around this topic. During the last sixty years we have experienced that the structure of the human thought has changed at the same time with the perception of the visual perspective. The human visual perception as a primary source of information of the environment, is a natural sight (and by that we can even understand the pristine nature) which reception has at least the same number of abstract visual stimuli, that is, the image decoding facility. We can interpret the original three-dimensional image of objects without difficulty, and we can confidently orient in the plane between the objects of our daily lives - most significantly in front of a monitor. If all this seems to be too obvious we have to think that it was not always that way. We know experiments in which researchers have tested the natural nations relationship with images. It is an interesting experiment that the people socialized in tribal culture, in many cases; they could not identify themselves or their peers with the recording shown on Polaroid figure. They shot the photo around was, smelled it, but since neither the size nor the shape, not even the material did not like the 'original' sight, they did not connected with it. All this happened because they were not required to change their lives reflexively with visuals Sikkim abstraction. With us it would also be a similar disorder: imagine the chaos that would result in, for example, if the entire world's traffic tables because of a higher command it would be changed coordinately and at once. From one moment to another we meet with unusual shapes, symbols and color coding, what would not be based on international conventions, forms and colors. Of course, the use of the right hand rule and related concepts would be helpful in the previous experience, but you also have unforeseen problems with orientation in an unfamiliar city. Something similar happened in human thinking with the proliferation of personal computers and the Internet. Who wanted to orient correctly on the information superhighway had to master in a relatively short period of time a new system, and it turned out that in this new system the images and visuals played an important role. After these probably will not be a surprise if I have to draw the conclusion that a lot has happened since the design of the first website till the editing of today's smart surfaces of the mobile platform. Virtually everything has radically changed in the computing field, the field of opportunities offered by the web as well as in the field of mobile telecommunications and, of course, all of these graphic design, presentation and display areas. In this book in connection with the editing of the mobile phones graphical interface I concretely write about the aesthetic principles that are useful in all cases, and in some situations we have to
The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

bare them in mind. There is no mention about programming knowledge. I'd like to make it seen that the design of the most appropriate content or the appearance is not secondary or negligible, and I hope that this text is considered useful to help the reader to develop a visual and contentharmony.

2. The Asset Base Nearly a quarter century passed before the first commercial computer appeared in 1975, till the appearance of the personal computer Altair 8800, what was manufactured and marketed specifically for personal use. Two years later the Tandy Corporation started to produce- with keyboard and CRT monitor- Tandy TRS -80 Model I., which has been programmed in BASIC language, what was easy to learn, in addition to the computer could be connected to a cassette tape on which information can be stored. In the same year, 1977, in the United States the legendary Apple II appeared. Of course, the hardwares popularity was growing in synchrony with this the software developers -in addition to various data processing software have created programs for data visualization, or digital drawing, and image editing. A process has started with this- until the present, a self-reinforcing process - in which the options and the users needs effect on each other operates very efficiently. In the 80s with the development of the staff - especially the window menu, the graphical interface is gaining ground - it is noticed that the keyboard previously used almost exclusively it
The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

was necessary less and less, however, the mouse has become a necessity to surface navigation purposes. This leads to the need that instead of the often uncomfortable Appendix treated peripheral devices; we should use an interactive display interface that is able to perform data entry and visual display functions as well. We had to wait a relatively long time for a touchscreen device; the first developments began almost simultaneously with the development of the personal computers. The first touch screens, what could be operated with light pen touch, were made in the fifties and sixties for air traffic control, and in 1983 Hewlett Packard HP -150 types, touch-screen computer with infrared sensors, appeared on the PC market. They can not spread out widely, perhaps because of the high price and the low stage of the technology. The first multi touch screen was developed in 1984 by AT & T Bell Labs, but the real PDAs have appeared only in the nineties. First, Apple has introduced 93 models in the Newton PDA a bit later; the IBM also came up with a phone called Simon personal, which has already contained a small touch screen. This device combined firstly the touch screen technology and mobile phone, but the real breakthrough came in 2007 due to the launch of iPhone. Nokia much earlier, in 2003, launched Nokia 3108, touch screen phone. The first time to get a touch screen mobile in Hungary was in 2004, and it was Nokia 7710 mobile. N800 and N810 around the same time with iPhone, in form of a tablet were available. In 2006, Samsung introduced the first touch-screen smart phone called Omnia.

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

In case of the phones the function of the touch is currently playing a leading role, but customers also demand of traditional push-button versions, and there are some costumers who insist on the full QWERTY keyboard. As mobile technology can be seen as one of the most spectacularly developing industry, technological innovations are expected from almost every other component. The major products of top companies are no longer a rarity, not even the four, or even eight-core processor, Samsung has unveiled unbreakable, flexible LCD display and in recent years, significant results were achieved in the field of speech recognition as well. At the time of this writing the most recent innovation may be the introduction of the Eye Scroll and Eye Pause system, based on interviews with experts the smart phone can detect automatically the user's eye movements and due to this it scrolls the menu bar, and stop surfing when the eye movement wanders from the screen. These undoubtedly will result in significant changes on the field of the mobile phones in the near future. Computer and mobile industry together with digital cameras and camcorders are also developing rapidly. As in computing without the primitive data saving - the magnetic recording was the premise, the digital photography would not exist without the appearance of video technology. Unlike the conventional camera, the video tape does not record frames, but secured encrypted signals which can decode and display picture again as a VCR. In other words, firstly the digital photography had to invent a system where analog sight is encoded to data quantity and an additional, condition that the same code is necessary to reconstruct the original image. The CCD (charge - coupled device or charge - coupled device) is the keyword of the technology what replaces the celluloid film.

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

In 1969 at AT & T Bell Labs the first CCD has seen the light of day, and this experience was used in 1975 by Eastman Kodak engineer, Steve Sasson, who first made a test camera, which had light sensor chips instead of film. It had quite modest abilities, which allowed them 100 100 pixel resolution; the image was encoded into digital data and it was recorded on cassette tape. The first commercially available digital camera, called the Sony Mavica, was manufactured in 1981. This machine had interchangeable lens, a special card reader to make the images watchable it was inserted on the television, because at the time personal computers were still incapable of displaying the photos. We had to wait until 1988 to get a digital camera what can capture a removable memory card images. At that time Fuji presented DS-1P camera type and in the same year the JPEG compression was born, which was a new milestone in the development of digital imaging. From here, the technology has spread rapidly; leading to the mass production launch, this camera has been very hefty price, available for the amateur user. 3. Contemporary Visual Culture Status and changes in the critical sense of the pictures The previous paragraphs have shortly outlined the development of daily technology, which played an important role in the change of the social status and judgment of the visual stimuli defined as image. Today, almost every modern household (even moderately equipped) is equipped with modern computer, an Internet connection a personal computer, a mobile phone
The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

and camera at the same time. We may analyze some segments of this tool park so that the computer can be a desktop computer - among them IBM or Macintosh system - or laptop. You can choose a mobile phone according to their functions, such as conventional or smart phone, and the latter, iOS , Android , Symbian and Windows Phone is based on the platform. Depending on the user's intent and wallet a camera can be SLR camera, DSLR, Compact or Bridge camera, we can enjoy the captured images on different types of computer monitors, TV, digital picture frame projector or tablet as well. As the outdated appliances are replaced with new ones, it is observed that the LCD or LED display technology imperceptibly enmeshed in our daily life, because almost every household has this electric machine and we could find one in almost all the rooms of our home. But leaving our homes, on the street, in the car or on public transport we perceive useful or useless information. This huge display conveys lot of images for us and our brain gets used to process such data. We select the uninteresting pictures without much focus on communicating information, and we store useful ones in our photographic memories. This is not only vegetative, but also played a direct process, and has become reflexive for humans of the modern age. We often experience that the phone's built- shoot camera, timetable plastered ad or other text information are recorded by someone. The same phenomenon is increasingly common in school performances, when the students take photo on the projected frame - instead of taking notes - considering this more important. This is surprising at first, but it is perfectly reasonable gesture because as opposed to a notebook and writing utensil the cell phone is reliable and always at hand. The communication devices with cameras in addition to the photo sharing social networking sites can directly transmit the photograph , so that the data can be shared as quickly as possible available to others . Sounds unbelievable, but true , that the photographs is made is almost 20 % of Facebook, and this ratio is quite significant when you consider that the number on Facebook filled images for 2012 is much higher than has been the 140 billion. This amount is rightly called the world's largest photo archive. It is also interesting to note that the preparation of the images being transmitted to inspire you to upload your photo, will be shared . Most of the pictures here recorded for an event, and the nature of the document - for at least the creator - the picture is more important than any other value, which underpin the interpretation of the image data as a hypothesis.

The image as information The earliest photograph is not 200 years old yet. If we try to express the number of all the images which have been ever made, in particular, we should

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

quantify the number of the analog inputs of all the images. Of course, it is difficult to make an estimate about the initial era, but before the estimation we have to clarify what is considered to be a photo in those days. We can declare that the number of photos was not more than one million, before the introduction of the Kodak Brownie in the market, in 1901. We can use the reasonable estimates of the Kodak statistics from then on. First the photo was mass-market, public goods, from 1984 based on the estimates published by the Silver Institute and PMIA we know the number of physical files taken on the world each year. Year after year, the numbers have been growing, as more and more people have been taking more and more photos, the 20th century was the golden age of analog photography, which reached its highest point in 2000. At that time, an incredible number of 85 billion physical, tangible picture was taken. Estimated by the number of cameras we can calculate that 2500 images were taken every second in the world. These numbers show an incredible dimension, but they serve only as a modest introduction to imagine the size of the digital times. At present, it is almost impossible to prepare a summary about the number of the cameras and other devices of photo taking existing in the world today even with the help of the number based on the data provided by the manufacturers. However, in 2011, it can be stated based on the approximate numbers that more than 2.5 billion pieces of camera devices are in use around the world. When we look at an average person shooting habits the statistical data shows that 150 photos are taken in a year, by the end of 2011, there are 375 billion photos in the world. The trend continues to grow exponentially, and based on the figures mentioned before, it was calculated that humanity has exceeded 3.5 trillion photos1. Did we have time to develop a critical attitude in this image floatation? Did the aesthetic senses co- evolve with the ability of reception these the large amount of image information or the perception of the images has changed functionally? This pretty much means that we do not deal with them in the classical sense as an image or picture, but as a coded surface. One explanation may be that the digital image is a set data in all cases, and even people are aware of this fact that did not have the forced experience to make the analog -to-digital conversion. With this in mind it may be easier to accept the inherent roots of image data as data storage data, and they can be considered less original (and therefore often associated with the uniqueness assumption of unrepeatability) images. Hopefully we will get an answer to the question what is the difference between them. The digital graphics We can talk about computer graphics since 1963, when Ivan Edward Sutherland developed the
1

source: http://tizidesign.com (08.02.2013.)

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

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American scientist program called Sketchpad, which was essentially the first real graphics program. He founded the general spread of object-oriented programming and use of graphical interfaces. Thus began the human-computer interaction thinking and this provided an opportunity to computer graphics to be used for technical and artistic purposes can. Computer technology has developed parallel with the evolution of computer graphics, and it united and applied almost immediately the classical art form genres (eg. street art and public art) and the characteristics of other art areas. It has become one of the most intensively evolving artistic areas that has made its effects felt in painting, photography, graffiti, graphics, individual or applied graphics, animation and cinematic genres and so on. Indeed, the use of computer graphics is very diverse from the field of individual art to the field of applied art. The number of artists who do not use computer in their work is very little. Perhaps as the most obvious example could be mentioned the territory of photography in which the original image can be corrected instantly and can be manipulated using a suitable software. On a color image can be created countless variations just by changing the color channels or contrast, but obviously it's not an accident that such software offers rich options of effects and in this way from the raw a work of art " should be created. Painters also commonly use a computer -prepared digital projector to outline the projected screen, and after that they copy it on the surface. The graphical can create a lined drawing by using some effects what is in negative; can be similar to the excited graphics, so he can plan to see more before making the strut. The former practice of animation, the traditional stop-motion technology was forgotten immediately by the spread of software options. Previously, the illusion of movement was hatched by the movement between two key frames phases of paper, they drew and photographed them extensively on the film strip. It was time-consuming and required a coordinated work of several people; it was long work that is now by the use of digital environment can be done alone in a few minutes. The artists used different tools (eg. magnifying frame or camera obscura) at work, so we do not have to think that the computer as a tool reduces the artistic value of a work of art. In addition to the two- dimensional works it is not uncommon now, that a sculptor does a digital work. The 3D modeling allows him to virtually make models on plastic, and with the use of the available technology he can print the work on a 3D printer. Currently, it has limitations in size, but in practice it works so a public sculpture should be assembled from smaller components as well. Computer graphics is important not only for art consumption but also for practical applications. In fact, an industrial designer can make the model of car bodywork; an architecture can design the complex model of a building

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

(a good example is the mock-up of Buda Castle Hill 25 years development)2 or a mechanical engineer can use it to build prototype of a complex industrial part similar to the sculptures method. All of these are specially developed for use in the field of professional graphics programs. Each of these programs have their own development process, taking into account the needs of the users and dozens of engineers are working on the development of the ideal software.

One of the most famous image of the editing software, Photoshop, by Adobe Systems which was introduced in 1990.

We see that the current trend in computer graphics is defined by the current state of computer technology what is widely available and it is influenced by the perception of art as well. We have to note that only the available technology can determine the style, as it is well known that much of the research is likely to go ahead than the computing devices sold on the market on available price. The trend is formed by casual users; the tester of the new achievements can hardly shape it (although their task is not to create a new form of world).

http://epiteszforum.hu/25-ev-fejlesztese-25-het-alatt-1-1000-ben (04.07.2013.)

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

jpeg ny02 (2004) The German photographer, Thomas Ruff, created a series of jpeg images and it reveals the compression characteristics. This low-resolution image was found on the Internet, and it was enlarged into huge size (269 364 cm) and it was decomposed into a mosaic grid when we view it up close. 4. Compositional Principles I can say that the reader of these lines is certainly have prepared countless compositions, even if they have not thought to do so. Composition can be either arranged on a bookshelf or preparing and serving a meal even in the case where the artistic intent is not controlled by its creator. If you wish to define, during the composition we can understand an action created by humans. The word comes from the Latin componen, that means the verb compose. These include the size of specific objects, range consisting of composition components, such as the traditional Japanese flower arrangement, the ikebana preoccupations, but composition is referred to an abstract concept from - in this example the note from - consisting of orientation as well as a score, which the composer composes various musical instruments and parts. The letters, texts can be edited

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

into compositions about this we will discuss in a later section about typography.

The basic units of composition Roy Lichtenstein: Girl with tear III. (1977, oil canvas, 117 101, 5 cm)

If we look carefully a graphic composition, we find that - in terms of visual basic units it is divided into points, lines and spots. Among them, the smallest unit is obviously the point and series of dots form the line. Set of points or grid of lines form the spot. It seems to be strange, but this simple symbol builds a broad universe of dazzling works of art, at least in terms of twodimensional works. If the point is not interpreted as a unit of autonomous artistic composition, but as part of the printing technology, we should imagine the grid point. In case of the offset printing technology the spot image appears as divided into small grid points. The print detail in the unit area (square centimeter) depends on the number of the first grid point. The same features characterize the image of the grid graphic or pixel graphic, but in this case the resolution is interpreted with dpi (dot per inch) identifier, where the number of dots per inch is given. The vector graphics uses curves and polygons instead of the orderly arrangement of imaging points of straight lines, which are called geometric primitives.

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

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Rate Systems and the Visual Dynamics The composition of the artworks is one of the most important features and also one of the fundamental dilemmas of the creative arts. It has internal discipline within the piece of art, editorial principles, which constitute the visible surface of the items placed there and arranged by the artist. Meanwhile, taking note of the lines, spots, their tone, the proportions, shapes and colors of light and shadow effects, rhythm, contrast, the facture and various image plane some cases beyond the sight we pay attention on the associated tone or temporality as well. Beside these, we have to take into consideration certain rules (for example, the perspective shortening) which also contain the primary function of the composition to convey the artist's thoughts, or express something. The composition is not only well designed, if it creates peace in the viewer, but also the seemingly tangled, disheveled , disorganized file structures can convey moods.

Piet Mondrian: Composition with red, yellow and blue (1937-42, oil canvas, 72.5 69 cm) and Jackson Pollock: Number 1 (1950, oil canvas, 221 x 300 cm) A different era in art history has its own characteristic compositional schemata, which can be typified according to the characteristics of a mainline. In ancient Egypt the stonecutters edited and depicted the events in lines, but this editorial principle was also dominant in the time of the Romanesque. The Gothic church art favored the symmetrical triangle layout, from which the Renaissance evolved its suggestive harmonious triangular arrangement of space; this was followed by the baroques highly dynamic diagonal compositions. The asymmetrical framing system of Classicism and Romanticism were replaced by the abstract schemas of the isms from the 20 century, and compositions can be discovered especially in complex dynamic situations. Even where there is no hierarchical relationship between the elements, there is not a main motive and the background of the machined surface is equivalent so it would be difficult to draw the
The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

dynamic power lines. It is also a common image editing principle when at first glance in a harmonious integrated interface we can discover something, something out of the ordinary only after a deep investigation. This is one of the typical surrealist paintings editorial principles, and it tests our associative ability, but this free association gives us the experience of discovery, and this may be one of the adequate forms.

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

Ren Magritte's La Reproduction Interdite (1937, oil canvas, 81 65 cm 3) Optical Phenomena I have already indicated the concept of a complex composition but by no means to all of them, since by composition we can understand the relationship between the things, and therefore it is very suitable for the practice of contrasts assignment. We can give as example a rustic, rough surface and a smooth and silky one. The juxtaposition of the quality of the two materials creates a particular tension; it gives the composition a perceptible dynamism. The same principle is of course not only working for bipolar opposition but also for similar surfaces. For example, association between the images hides specific potentials. We can speak about a photo of a leaf made in opposite light, where as quite sensitive line network the sense of the plant and all this is combined with the feeling of a polished, cold, marble pattern stone. Similar examples could be listed as well. It is a special challenge to present the special effect inside a plain composition. It can be used for a variety of instruments, such as a wipeout. The objects and shapes which are in the foreground uncover a part of the background, so a range of body position in space can be determined as a pack of card. The illusion should be improved further by applying the rules of perspective in which case the distant figures appear smaller and / or parallel lines converge into one point. A well- known, identifiable object with the use of shadow, can also serve for the illustration of distance in the composition. Objects, such as a matchbox or a coin are often used to present this, because their size is known by everybody, so the size of the other unknown dimensional shapes next to them can be presented but at the same time if we use them indirectly we can create funny composition or it can make us think about it. Certainly it is familiar to everybody when a relative uses this perspective to prevent the inclination of the Leaning Tower of Pisa and he is photographed for the sake of a joke. Another popular example is the glass pyramid at the Louvre in Paris, there postaments have been specifically designed for the sake of the tourists who were standing on them with their palm-down imitating that in the distance behind the tip they are touching the pyramid on the square. It depends on the photographers compositional skills how to use the spatial distance and the scale differences together. For the artistic perception of the distance it is a solution in two dimensions as well, and that is the use of air perspective. We can observe, in particular, in case of rangy landscapes, in rural areas
The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

that the high mountains which are in the distance have a gray-blue color, while the color of the nearer mountains seems to be lighter. A similar effect can be achieved if we manipulate the viewer with the richness of detail and its gradual dimming in the function of the distance. If we do not want to demonstrate such a great perspective, but a minor depression or protrusion it can be easily solved with the help of light and shadow. We can find different type of key imitations in the menus of computer programs where the graphic designers used this effect. Each of these buttons also indicate interactivity, in many cases we reach this by lowering or embossing them, because our sight is designed so it is paying attention on the distinct spots. We used different optical effects to highlight the essence but the emphasis also implies the subordination order as well. In painting we present the irrelevant details as shaded or obscured, we blur the outlines, the tone is faintly indicated, and the artist avoids the contrasting parts. In this way the artist can achieve to drive the views attention to those details, which he considers necessary to receive the message of the image. Some artists show the outline or contour, they use sharp discrimination or isolation from other forms or from the background to make emphasize.

Caravaggio: David and Goliath (1600, Oil canvas, 110 x 91 cm) Matisse and Henry L. N. Delakorskaya portrait (1947, oil canvas, 64.5 x 49, 5 cm) Optical Illusions We have to know the optical illusion in the editing of a composition because we may want to
The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

avoid or to take advantage of them. The most obvious eye spoofing is when in the reality two objects have the same length but they seem to be different, or when we put dark squares on a light background on the lattice points of it seems to appear a dark gray stain, which of course does not exist. The positive and negative spots which are in sharp contrast almost offer the chance to play with forms, but the artists can paint more complicated illusions than the form of vases, which display the profile of a mirror-image face.

M. C. Escher: Sky & Water I (1938, woodcut, 44 x 44 cm) and Regular Division of the Plane III. (1957-1958, woodcut, 37 x 26.5 cm)

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Salvador Dal: Slave Market disappearing bust of Voltaire (1940, oil on canvas, 46.7 x 65.9 cm)

Jesus Rafael Soto: Estructura Cinetic (1967, silkscreen, acrylic, metal rods, 34 34 18 cm) Applications display on mobile phone is form of compositional arrangement that is why we should take into account some important points in their design. Firstly we have to decide if the elements of the application would appear on display in portrait or in landscape position. We have to keep in mind that many phones are already equipped with the automatic position option, and turning the device the available information on the screen will be either in landscape or portrait

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

orientation. Therefore, the components shall be arranged so that neither of the positions that may occur should overlap, we have to make sure at the initial stage of the designing process that we apply the appropriate bays. The composition will be good if by interchanging parts, colors, ratio the balance what it otherwise suggests would capsize. If we think that the positioning of the components is random, the proportions to each may be relative, their positions are interchangeable the composition is certainly wrong. If we choose the main point incorrectly we may feel that the image swings or capsizes so its dynamic was not developed well. We should take into consideration the role of the bays when we determine the shapes and positions of the items, because the negative relationship between the spot with the main shapes is not negligible. Their ratio will determine that simple question whether the interface is congested or highly visible. If the space is tight, the important elements appear to be too close to each other, two different elements may seem to be connected on the other hand if the space is too large the main elements may become unstressed. If we choose the ratio of the negative spot correctly it helps the eye to wander the composition, to interpret it or to emphasize on the main shapes. In case of details of the surface, we must be able to recognize the important details, like an active area immediately. If the surface is crowded it is difficult to find the information what we need. This may be a further navigation zone or a link. Similarly be misleading , for example, is an excerpt seems to be active , but actually inactive , that is, the emphasis misses the target in this case. It is confusing when a part appears to be active but it is inactive, in this case the highlighting is misleading. If some parts of the surface tend to be similar it may cause misleading and confusion. The user are tired by such mistakes who whenever he can, probably will avoid the use of this application.

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

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An optical illusion street art plant. 5. Color Study General color theory The ability of color vision is very important evolutionary outcome, due to this we can distinguish different regions, animate and inanimate objects. Basically, for the formation of the color impression three components are needed, such as source of light, an object to be detected, and of course, the observer himself. The examination of light and color has a long history; the researches can be dated back to ancient times. The originally Persian, Muslim/Arab scientist, Ibn Al- Hazen (965-1040) is well-known as the first scientist, due to the posterity of the scientific method; he is respected as a pioneer of experimental physics. His extant study, the Opticare Thesaurus Case occurred around 1000 B.C. In this study he summarized the long -known phenomena of optics and also revolutionized the science, with the understanding that the light is built from rays to illustrate this he made the camera obscura as well. He was among the first ones who made experiment with the separation of the white light. Much later, in 1672, Isaac Newton published in his study, Light and Color Theory, the optical phenomenon of refraction, according to that by introducing a prism we can break white light in different spectrums and by inserting another prism we can reset the white light again. Newton also observed that, contrary to previous assumptions the reflection of light is not changed, and the various colors can not be made by
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objects. We perceive the color of the objects because of the reflected light rays. In 1810 Goethe published his writings of the three stages and in the polemical part he questioned the accuracy of Newton's theory of color. In the famous debate it was represented the physical optics approach by Newton and Goethe's color aesthetic approach. Thomas Youngs trichromatic theory, English physician and physicist refuted Newton's theory (and therefore Goethe was justified). His idea which was published in 1802 - was that the colors perceived by photoreceptors what are located in the eye, a separate tap for the red, green and blue -violet color. With all this it is proved that any other color can be created from these three basic colors. Hermann Ludwig von Helmholtz amended Young 's theory fifty years after its announcement, of so it became known as the Young- Helmholtz theory according to this theory if we tease the substrate with other colors than the basic ones all of the receptor groups should be actuated simultaneously. As it used to be in case of a scientific study, this theory also had many opponents. The opponent color theory - by Ewald Herling, reviewed in 1874 - the essence of this theory is the following, hat color vision is basically the perception of contrast colors. Herling enrolled t red, green and blue as primary colors but he added yellow to this list, and just as red and green, the blue and yellow is opposite colors, and they are not apparent at the same time. We do not know yellowish or greenish blue shades of red. Only in the 1970s - mostly relying on Edwin Lands research results, who is the inventor of Polaroid photography the three color theory and the opposite color theory are not contradictory, but complementary theories. The first models the eye operation, while the latter explains the basics psychic of vision.

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Located color LED wall matrix Color Matches We know from Newton's theory that from the primary colors of the spectrum what contains white, the rest can be obtained. This is called combination or additive color mixing. This principle works on the television screen, a computer display or the mobile phone's color display, as well as in the case of digital cameras, video cameras and scanners receptor unit. An extraction and subtractive color mixing will happen if we remove colors from the white light. This phenomenon occurs, for example, with the stained-glass windows, where a portion of the sunlight is filtering through (to a certain wavelength ranges) it is absorbed by the stained glass, and the interior of the church is decorated with colorful lights. If an analog photographic work or print images (color mixing for printing) does not have its own light source, the primary colors will be cyan, magenta, and yellow.

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The name of t he color code is CMYK (cyan, magenta, yellow, and K as key), where the black color is represented as a key. We do not get a perfect black with the printing on each other of the three primary colors, so it is necessary to use a fourth color (black) too.

A glass window in Cologne Cathedral (1848)

The color wheel

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It is well known that the role of emotion in art is more important than the rationally determined things. However, there are some areas where the constructive approach meets with knowledge gained through experience. The constructive color theory is such an area. In order to understand this we prepare the twelve -view color wheel, to do so the three primary colors, yellow, red and blue serve as a basis. Interestingly, the perfect musical pitch is very rare, every healthy people can have the absolute color vision. In other words, basically we can establish if a blue color is pure blue or blue-green, or with reddish tinge. We can also observe if the yellow color changes into bluish or reddish - yellow, and if the red color contains yellowish or bluish tones. We place three primary colors in an equilateral triangle, in the following order: yellow on top, red at lower right and at blue lower left. Place this triangle in a circle and construct a regular hexagon, each vertex has to touch the circle. We fill the resulting triangles with color mixed from the three basic colors. The mixing of blue and yellow will be green, from yellow and red will result orange and from red and blue we get violet. It is important that these three mixed color must contain the two main colors from which they are made in equal proportion. We draw around the circle which contains the hexagon a larger circle, and then we divide it in 12 equal pies. We color corresponding points of the hexagon to the already established colors, and we color the rest to the tones created by mixing the primary and secondary colors. As a result, we get a color wheel with 12 colors and their place is unchangeable. Newton was the first, who drew color circle, but its color range is actually a curved linear spectrum, the red and violet was located on the ends. Newton added the magenta spectrum that was mixed from red and violet in equal proportions, in this way the color wheel is not refracted and the two colors can form a transition. The color wheel became complete with this intervention. Goethe did not regard Newton's color circle complete, when he created his own color circle - instead of using a linear spectrum he paid attention on the continuum transitions.

Newton's color circle

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A 12-view color wheel

Color Contrast Maybe it is a surprise but a color itself is a hardly perceptible quality. Its vision or mental
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efficiency is always complete if another color or colors are assigned next to it; we perceive it by their relationship to each other. We speak about contrast when we notice a conspicuously marked difference between the two colors. For example, imagine that you see a crowded car park from the balcony of a high floor. If there is only gray and silver cars parked, and among them only one red can be discovered, it is likely that will be the first spot what we observe. The opposite case is also true from a lot of brightly colored car we must firstly perceive the grayish tone. But nature can produce similar effects, we are familiar with the patterns of the brightly colored poison arrow frog. These small amphibians indicate with different colors as their he natural surroundings that they do not want to play the role of a prey.

The lack of contrast can be observed in other species of poison dart frog, for example the toad what can not produce such a powerful poison so they rather wear hidden colors. People consciously apply the same. We use this for construction, transport, or other public locations, they are marked with black and yellow stripes danger because the two colors together have the most attention-grabbing effect. However, the defense industry generally applies the gray-green khaki camouflage colors and the organic alignment of different shades of ocher and green.

Johannes Itten, the Swiss painter and art theorist - who was one of the most important teachers of Bauhaus school - said about the effect of colors: " A color is only awarded for its value if it

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comes in contact with a non -color , such as black, white gray, or one or more other colors . The perception of color contrast is not a physic- chemical reality but a psychophysical of reality"3. Itten testified, and with the examples above, I also wanted to draw attention to this, a color can only be awarded for its value if it is placed next to another color. Let's see how to create a color contrast when we know that the different colors psycho- physical reality simultaneously have a different effect. 1 Contrast between Light and Shadow The easiest way to make contrast is with black and white or with shades of gray, but this does not mean that the light and shadow contrast can not be created by using different color fields. To determine each level of gray depends on the acuity of the human eye, but external factors - eg. light - can affect it. It is interesting that when, for example in a bath with white milk even one hint of black Indian ink goers, the result is already grayscale even if there is no human eye which perceive this insignificant change. Not only the gray monochrome (the presence of the black colors only cause percentage), but also other " gray color " exists, they contain, in addition to black and white other colors as well. The colored shades of gray can create a pleasant neutral surface what can be used as a background color. The toughest contrast can be created by using only black and white, but we should be careful with its use, as it can easily cause annoying flicker on the surface of the eye if it is tired. To avoid this, it would be a successful approach to use a few percent of the gray - white and 90-95 % gray instead of black.

2. Individual Color Contrast To prepare this it is required to use at least three different markedly distinguishable color. It can be further enhanced if next to the homogeneous basic colors we insert even a black or white field. The effect of the individual color contrast is strong and it draws awareness, therefore, its excessive use can be roar. On such an intensive surface it can be difficult to follow the cursors movement and the positioning of text can cause readability problems. In order to release this strong we should effectively use other colors than the main ones.

Johannes Itten: The Art of the Colors, Budapest, Goncol Press, 2000, 1 page 9 (translated by Gabor Kartson)

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3 Hot-cold Contrast On the right side of the color wheel the cold colors are located while on the left hand side, we can find the warm colors. We know that colors can affect our sense of heat, which affects the ability to concentrate as well. Various attempts have been made to detect this. Horse racing stables are divided into two parts, one part is red and the other singer is blue. After the race, the blue room calms the horses down a lot sooner than, the red one, there the horses are longer tense. It has been observed that on the red side there were an unusual number of flies, while on the blue side there were not flies. The shades of orange-red evoke higher thermal comfort because they have been associated with fire and glow. However, the greenish-blue tones have been associated with ice, freezing coupled, so we think that they have a lower temperature but actually blue has a higher temperature. We think that Saturn red is the hottest color between yellow, yellow-orange, orange, orange-red, red and reddish purple colors. Among yellow-green, green, teal, blue and blue-violet colors the coldest blue-green color is the manganese oxide. The cold-hot contrast creates a strong distinction what is highly expressive, its use is draws awareness and it is well suited to distinguish different territories. Moreover, the blue colors seem to be optically distant, while the red colors seem to be closer.

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4 Complementary contrast If we watch a red form for a long time, then we close our eyes, we will see green in the same form. We can do this practice with any other color; the after-image in each case will be their complementary color. We can reach a shiny, decorative effect if we put two complementary colors next to each other using a good proportion. The complementary are opposite to each other on the color circle and so they form pairs. One color has only one complementary pair that one which is diagonally across to it. When we mix these two complementary light colors, the result is a visible white light or if a green object is illuminated with red, black will appear. If the two colors what we want to blend is not light, but a pigment, finally we get an almost neutral gray, (with the exception of the green and red pair of complementary mix, which results in gray instead of brown). 5. Simultaneous Contrast
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The phenomenon of simultaneous contrast is also related to the complementary pairs. According to Itten in the law of color harmony he also includes the complementary - law. We can speak about simultaneous contrast when a color is detected; the eye automatically assigns its complementary pair, even if it is not present. The simultaneously created color perception may not even exist, but it is generated in our eyes. The simultaneous effect in many cases diverts attention what becomes tedious, and it can be confusing. Therefore, we should know how to avoid it. The easiest way, if instead of a natural gray we use a colored gray, we mix into it some of the basic colors. If the base color of gray is added from a complementary color, the effect is simultaneously amplified. Another method to reduce the danger is if we use different color brightness scale. 6. Qualitative Contrast This is sometimes referred as saturation contrast, because of the clear, saturated colors and the juxtaposition of their softer version. The degree of saturation of each color determines the color quality. If we added to a color pure white it will be brighter, it becomes darker if we add black to it. If we add white and black at the same time, it is attenuated the colors brilliance, but also by adding the complementary pair a curved gray dimming can be performed. By neutralizing the color loses its expressive power and vividness, optically it seems further away than it. A muted version of the color can be used as a background or as an inactive surface, and on this we can locate its spot can be a good modality to highlight something.

7. Quantitative Contrast Quantitative contrast, as the name may be inferred, appears when the spots of different colors in different size are compared. In order to avoid excessive vibration on a surface and to radiate harmony rather than suspense, we have to find the good proportions of the color spots. Account should be taken of the fact that an optical spot of color determines the size and strength of lighting as well. For example, on a starry sky where the large, homogeneous surfaces are quite dark, due to the small, proportionally insignificant points of light we may have the impression that it is bigger than the real spot size. This example shows that the intensity of colors and their effect is different. Goethe expressed approximately correct the equilibrium percentage point in numbers of different colors :
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Yellow: Orange : Red : Violet : blue : green light has the ratio of 9 : 8 : 6 : 3: 4 : 6 The complementary color pairs ratio is the following: Yellow : Violet 9 = 3 = 3: 1 Orange : Blue = 8 : 4 = 1: 2 red : green = 6 : 6 = 1: 1 If we want to create a harmonious surface, we have to apply the inverse of these values. For example, the vivid yellow must occupy one-third than its complement what is considerably fainter, the violet.

6. Typography At the beginning of this book I wrote about the phenomenon that we tend to consider the images as an original source of information, in opposition with their multiple functions what is primarily an aesthetic one. I do not think that the civilization of the pictures could take the role of the written text or Internet can replace the printed book. If we look around, we can see the unavoidably presence and forms of typography in our daily lives. Any kind of writing or even a letter placed on a surface - even without a conscious editing - belongs to the field of typography and it is the main source of communication for a long time. The Greek word typo means an engraved or minted figure; the word graft is equivalent with a write word. This word combination is used from the 16 century. At that time it referred to the preparation of books with the demand of an artistic method. In other words, it required the selection of letters that best fits to the content of the text, the aesthetic layout of the articles, illustrations, headings on the page. The books were printed by hand the text were printed line by line using cast letters. The personal computer or the spread of digital technology has radically changed the nature of typology, because now every user creates text on daily basis, and we organize it at some level. Nowadays it generally accepted that the most important means of cultural dissemination is the book, but we can see this as an anachronism because on the internet we can find an incredible amount of written material, and the popularity of e -book, audio books is growing. However, reading and writing will always be an essential factor, because without this knowledge we can not deal with the computer. In order to edit a text it is useful - in addition to reading comprehension and correct language usage- to study and understand the typological rules. It is not enough to use of the rules dogmatically, it is a necessity to have sense of beauty, general sense of composition routine, a fine eye for the proportions and to apply the rule of thumb. A good typographer is able to use exact knowledge and he can also apply subjective
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considerations as well.

The Development of Writing The necessity of verbal communication is as old as humanity itself, the writing according to Umberto Eco can be regarded as an extension of the hand, and in this sense it can be seen almost as biological phenomenon. Writing - continues Eco is communication technology what is directly linked to the body. Once we discovered it, we are no longer able to live without it4. The first evidence of human drawings can not be defined as writing, but its development was definitely needed. The graphical forms of communication evolved from a pictographic script (pictography), which marked concrete concepts. Later some pictographic signs appeared that did not refer to depictable concepts. The easy line art was not suitable to capture the concepts, so in order to expression correlations the concept of writing was developed (Ideographs). After the introduction of the ideograms the next stage was the development of converting notes to written symbols, and the appearance of sound writing was a turning point in the history of writing, after which only the formal changes were developed.

Jean-Claude Carrire - Umberto Eco: Do not expect to get rid of books. Routledge, Budapest, 2010. Translated by Thomas Sajo (21)
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We know that writing was preceded by the drawing as the recording of the first ideas and the transmission of the activities. The ancient man already felt the urge to preserve his message, this tendency can be traced in cave drawings, which were formed by sharp stones, bones, wood, branches, or simply by their hands and fingers. The oldest of these findings is around 9000 BC. Just about 5-6000 years ago, we can speak about image writing. They used hundreds of mark, but they were only able to capture the essence of the thing to be communicated, not the whole remark. We can speak about pure picture writing in case of the Egyptian hieroglyphics and Chinese characters. In Egypt, the image writing existed in sophisticated form so they distinguished the nouns from verbs, but they subordinated the entire writing system to aesthetics, and they did not use spaces. Just about the same time with the formation of hieroglyphs in Mesopotamia the cuneiform writing was developed. Among them the oldest is the Sumerian writing, its structural rules correspond to the Egyptian writing, though formally we can observe significant differences. In the beginning they also used pictographs and then switched to syllabic references, they used wedge -shaped symbols. The Babylonians adopted the late Sumerian writing, but instead of its long horizontal rows they wrote their units from left to right direction. The image applying nations soon faced with the problem that the drawn or etched line drawings were not suitable for communicating abstract concepts. Therefore, among the signs of pictographs appeared signs that did not draw concepts, and soon they applied the hieratic writing (taken from the Greek word priestly writing group) they no longer set it in stone, but they wrote mostly with brushes on papyrus, tiles or fabrics. Its great advantage was that it could be done faster, because they did not have to use a complex hieroglyphic system of images. The hieratic writing was followed by the demotic (popular). The name derives from the fact that it mainly served to record their private affairs. It was developed in the 8-7. Century B.C. and the last known demotic inscription could be dated from 452 B.C. It was developing continuously during a long period of time and three stages can be distinguished: the archaic, the Ptolemaic era and the late period. With the spread of Christianity the demotic writing was used by the Gentiles, and it soon disappeared, and the use of the Greek alphabet became general. The writing could be connected to the Phoenician merchant ships, which first used abstract symbols instead of images, or characters in modern sense. They changed the signs of the cuneiform and they formed them in a way that they can write them on papyrus, its development can be dated about the same time with the development of the Greek alphabet, around 1050 B.C. The Phoenician and the Greek alphabets letter contained only 22 consonants, so the missing vowels and the words of the text had been concluded from the context. The letters of both alphabets were named, the difference is that the Phoenicians wrote from right to left, the Greek vice versa. At first they did not use space, then they marked it with fine points.

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Mesa stele is a Moabite stone. The black basalt stone was found in 1868 at the Dead Sea, by a German priest. This is the most significant memory of ancient Hebrew writing, as it contains the longest known Hebrew text (34 lines).

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The Greek alphabet formed from the ancient Greek was the first in which both the vowels and the consonants had special punctuation. At first, in the Greek alphabet also was featured several versions at once, and with the Ionian writing has been widely accepted. The direction of the writing changed ultimately, which can be seen as a transition to the initial right-to -left writing in alternate rows (this is the boustrophedon line guidance, what was called as " ox- plowing " writing) was followed and eventually switched to the left to the right holder. In southern Italy, the Greek tribes first interacted with Etruscans who also took the science of Greek writing, and with their interventions - either with Phoenician or Greek influence it was developed in the 3rd Century B.C. the Latin alphabet which has 19 -letters. After several changes in the 1.Century B.C. it was developed the present, 23-letters swollen form. Several nations adopted this alphabet as a result of Roman conquests and trade relations.

Font The variety of eye-catching font families were developed a long time ago and their development were determined by the sort of material by they were made and by the material they were written, but in the case of the digital vector font editing can be observed that it has similar characteristics. In addition to the traditional typefaces it appeared - in parallel - font sets which were based on the characteristics of the handwriting, letters which imitated the characteristics of electronic displays, raster characteristics of street art, airbrush feature or the retro style of the eroded letters. Because of this development process we have the possibility of editing three dimensional subtitles, the tool is the computer, whiteboard, and the surface is the monitor instead of the stone tablets and parchment. The first version of the classical Roman writings were rectangular, square (caps quadrata), hard line letters, which stems from the fact that it were only carved in stone, and the shape of a letter made the job a bit easier. It contained only capital letters (maiscula), the spaces were designated by points. On the papyrus and parchment was written a later version (rustica) which had finer lines than its predecessor, it was more appropriate for handwriting. On the wax -coated pressed wooden boards it was etched its cursive version. As the papyrus used for writing it was almost exclusively produced in Egypt because of its high cost and long time of purchase - and also because the Egyptian king feared the knowledge he banned the delivery to the city of Pergamon after a while the scribes began to use animal skins. The term was originally used only for the untanned parchment of goat or sheepskins, bleached sheets, then for all the writing on so called skin membrane. The finest parchment was the skin of stillborn calf what was called vellum. The transition from papyrus to parchment had two major consequences, the first was the use of the
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quill, the other was appearance and spread of the codex. The codex copying task required meticulous, careful and painstaking work, and for a very long time, from the 2nd century A.D. to 1440 the invention of Gutenberg printing no other method was in practice. Although in the 8th century, in China engraved wooden board has been used to high pressure strutter for book reproduction but in Europe, this technology was not widespread. In China even before Gutenberg the removable sample letters were invented in the 11th century. In China they printed on paper, they were probably already familiar with the method of preparation of the paper before the time too. The first paper mill was built on the Arab - China trade route, Samarkand, so that the method of manufacture may have spread to the Muslim world, and only in the 8th century it came to Europe, through Arabia and North Africa.

A page from Diamond Sutra, a wood cut board book, from China in 868.

In 1962, the Canadian scholar Marshall McLuhan published his book the Gutenberg Galaxy in which he presented the cultural history of mankind, the importance of the role of the printed book. According to his theory the release of phonetic alphabet was essential for the invention of
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the printing press5. He describes how the monks copied the codex saying it out loud, this process was based on the auditory - tactile sensation, while the typographic effect upon our interpretation of the text has visual characteristic. It is instructive that the word Gutenberg galaxy itself will become general when it comes to paper-based publishing what is at risk because of the internet. Another interesting thing is that McLuhan also predicted the emergence of the Internet; he used the expression of global village 30 years before its creation. The fonts currently in use can be divided into ten categories by their common graphical principles, they are: 1. Renaissance antique 2. Baroque antique 3. Neo-classical antique 4. Antique (Egyptian) 5. Sans serif linear antique (grotesque) 6. Other antiques 7. Handwriting imitating fonts 8. Ornamental and advertising letters 9. Fractional generous letters (Fraktur types) 10. Foreign Fonts

1. Renaissance Antiqua It was formed in the 15-16th century it has block fonts, it is also called humanist. It is dating back to the form quadrants from the ancient Roman world. It emerged from the Roman capital majuscule and Carolingian minuscule. The typeface of the letters has different thicknesses it may give the impression that it was drawn by a pen or a brush, but there is no big difference between the baseline and guides thickness. It mimics the rhythm of handwriting, perfect for long text. It can be characterized by the fine attention to details, in case of the serif and closing lines we can observe the rounding and round shapes have the tendency to inclined alignment. Two groups can be distinguished, the Venetian Renaissance and French Renaissance antiques. The difference is barely noticeable, the oblique lines of letter "e" in the Venetian antique is transverse, while the French version is horizontal. This group includes for example the Garamond, Palatino and the
5

McLuhan, Marshall, The Gutenberg Galaxy. The creation of typographic. Deposit Book and Newspaper Publishing, Budapest, 2001trans. by: Kristof Istvn Nagy.
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Centaur font family. 2. Antique baroque it can be characterized with the A 17-18th century block font feature. In 1695, Louis Simoneau worked it out because of the commission of XIV. Louis, based on his Mathematical Principles, later Pierre Simon Fournier revised the slightly stiff letters. He changed the font width ratio so he formed final version of the Antique Baroque. Thus, this font also became capable of reading longer texts. Fournier was also the one who worked out the typographic measurement system what is still in use. We have to distinguish from the Renaissance antique it is a difference in the thickness of the auxiliary and the main lines, the rim and the closing lines are less round, in case of the axis of the round forms is less oblique, it also can be vertical in some font families. The roman baroque Times and Baskerville font families are well known and often used. 3. Neo-classical antiquities It was released at the end of the 17.century it is a block font type. The design of the earlier forms what imitated the handwriting was no longer in use, and instead of a pen scriber, a marking needle was used according to the fashion an attractive thin line font editor was introduced. As a significant difference, thereby a high contrast effect can be observed between the thicknesses of font stems. This allows it to present highlighted parts, for example, picking the titles of books and newspapers, but the continuous reading of the text would be confusing, and so it is not in use for this. The rounding of the letters stand is low or not even exists; the circular sensitive axis is always vertical. The Bodoni and Zapf font families are examples for neo-classical antique.

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Renaissance (Garamond), Baroque (Baskerville) and classical (Bodoni) antique. The change in rates is clearly visible in the relative thickness of the letter stems.

4. Antique It was a significant font family at the end of the19th Century and at the beginning of the 20th century. It is also called as Egyptian it can be dated at the time of the formation of Napoleon's Egyptian campaign when in England it was intense interest in Egyptian art. Another theory is that the letter was appointed directly by the vessel named Egyptienne, which supplied the Rosetta stone in England. The Egyptienne first appeared in print on a poster made by Vincent Figgins. This font can be distinguished because of its straight lines, regular, geometric shapes, and powerful rim. The letter stems have equal thickness and the thickness of the rounding rims associated with them is the same. Firstly it was designed for advertising purposes, and for this is the most appropriate, but in rare cases it can be applied as stuffing letter. In case of the circular letters the axis is completely vertical. The Courier, Rockwell and Memphis are examples for this type.

5. Linear Sans Serif Antiqua Its development is largely at the same time with antique, the end of the 19th century, but in the early 20th century it was a popular model as well. In 1803, Robert Thorne, a letter-cutter and mold master made the first version. The earlier antique possessed rims, so the letters stand for the non- standard language called grotesque, and this nickname is still maintained. The American savage letter was described as Gothics. The first sans serif letters were prepared for blind people to read with their fingers, the serif should not be a distraction. It is interesting that many antique linear grotesque font families still do not have a cursive version, the italic letters are usually created by decision of the letters. It is characterized by equally thick letter stems and vertical axis. The best known versions of this type are: Arial, Futura and Helvetica. 6. Other Antique

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Theses are typical fonts of the 20th century, which are mostly converted from traditional, historical fonts. Varia is also known as this type. They are determined by light, unique and individual characteristics. These fonts are already digitally edited, but the designers have tried to maintain the features of cut the tip pens. Minion, Palatino, Optima and Catullo are mostly known as this type. 7. Imitating Handwriting Fonts Imitating the handwriting fonts carry effect of uniqueness, immediacy. Its application in all cases results in a product of personal tone, it reflects the free world of feeling of the creator. This type is the most vulnerable to the style of fashion. The writing instruments are different in every period, but the script itself is dynamic, it changes almost with every generation. If we compare the handwriting of our grandparents with ours, it is easy to understand why. It can be well used generally with other fonts, but it is not used in text but for headings. Its common types are Vivaldi and Mistral.

8. Ornamental and Advertising Letters The most significant characteristic is that this font is the easiest to read, but, as their name may suggest, they are used for headings, they are the fonts of the awareness boards, so on. Their use should be treated with caution because it may seem to be part of the decoration. It is difficult to group the letters based on their substances or character, and it is not any requirement about the writing of the letters. Its construction was based on the Renaissance, Baroque or Classical antique, the linear antique is rarely used, but it was not uncommon to design unique letters required by the content of the text. Examples of this kind include Chisel, Impact, Stencil, Wide Latin.

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DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

9. Fractional generous letters (Fracture font) In the 11th century, it was primarily used to write the codex, they used pen to write this thicktipped, slant range letter. It was known as Gothic letters because of the spread of Gothic architecture; it started to widespread from France and Flanders. We can speak about several developmental stages before it won the final form; it is closely linked to the evolution of book writing and illustration. Gutenberg also used Fraktur letters when he printed his fortytwo-line Bible in 1456. The characteristics of the off-line letters are that it is difficult to read, because the dens vertical form creates the grid effect. Quoting the archaic knowledge of codex in mostly Germanspeaking countries it is often used as the headlines of the daily newspapers. Such fonts are Saxony, Tudor, London or Old English.

10. Foreign Fonts All the letters from every foreign alphabet families can be grouped here. The Greek and Cyrillic letters has played a major role for several years related to Hungary, but it has lost much of its importance with the end of the compulsory Russian language learning. The knowledge of the
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Greek characters, however, continued to be important owing to the conventional physical and mathematical marks. The fonts of Arabic, Hebrew, Chinese, Japanese, etc. are part of the foreign fonts, but some letters from the Slavic languages, French and German alphabet contains special marks. The Hungarian long accents cause difficulties when in the usage of a font set.

The fonts based on their form can be painless, thin (condensed or narrow), Normal, Wide (wide) or cursive (italic or italic) letters, according to thickness of the letter stem: light (light), normal (regular), bold (semi bold) and fat (bold) form. The fonts that are similar to the typewriter letters, fonts with the same width (such as Courier) are called monospace.

Text Editing Principles As I mentioned before, to form a text it is not enough to know the basic rules, but it requires some subjective senses to a coherent interpretation of the text what should not be tedious for the reader. In addition of forming the text, the placement of the highlighted text, explanatory diagrams and other illustrations can be part of the job. In other words, we create a composition whose elements are emphasized in a series of letters and lines composed from stain effect. Based on our previous compositional knowledge we can rely on it to design a text -enabled sites, but in this case we should not forget about the readability, the rhythm of articulation can be determined by the content of the text. It is significant for example where we insert a diagram into the text and it is also important what kind of text image does the different length sections show. The text is composed by paragraphs, paragraphs are composed by sentences, and the phrases by words but the letter is the smallest unit of the text. First consideration to take into account when we start editing a text is the length and the number of other components such tables, pictures, diagrams and other components associate with the text. The length defines the structure of the surface, and based on this knowledge we can determine what kind of decorative accessories can be seen on the edit page. The length of the text in most cases determines the font and its size. The font, if no other is privileged, is determined in most of the text, by the mood we want to edit, the material, content, or the target audience (in most cell phones are basically used sans serif font). It is good if the image fits with its style to the message of the text, but readability is the first. Taking readability into consideration, we need to select the font size, we must take into account if footnotes are necessary which font size is with one or two points less than in the main text, the main and subheads, motto, special sentences are denoted with bigger font size. The same is valid for the correct spacing, and even for the letter spacing as well. The overcrowding is a mistake

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DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

that ruins the interpretation and readability. We should be careful with the mixing of fonts, not all letters can bear the appearance of other types on the same surface. The text bears the association of different fonts when we speak about the headings and filling lines. The graphics uses a variety of colors, different font size and characters as a solution to create a poster. We have no doubt that attracts the eye, but in order this variety not to become unaccented and tiring, a great design practice is needed. If you do not have it, you should avoid such solutions. The choice of font colors will be primarily influenced by the background on which the text appears. The strong contrast can be just annoying because of its flickering effect as the lack of contrast when the text blends into the background. If the background is not homogeneous, but rather a gradient (gradient), with the right saturation we can avoid the melting of the text into the background. If the background is brightly colored, it is difficult to choose the right font color. In this case, a good solution is to insert a transparent shape between the text and images, which can interpret background image, but at the same time it highlights the text from it. An equally good solution can be that if we provide the fonts with shade or contour. If we indicate the individual words or word parts with a different color it might be labeled as a form of enhancement, so in this way we can draw attention to a phrase that is listed on an active interface. Rarely, but we can observe that the letters of a word or words in the headings are filled with different colors. This has an infantile effect, so if the content of the text does not require this solution we should avoid it. It is often a question how pictures, images in the text ought to be placed. Here the interpretability of the content is the primary aspects, the image what is associated with current paragraph should not be placed to far, especially not in a place where it becomes ambiguous because of the content of the text what appears next to it. It is accepted that editorial solution that all the figures are stacked at the end of each chapter, or at the end of the text the images are included as an appendix. If you choose this option, we should be aware that this breaks the reading process and it makes the interpretation more difficult, if we have to scroll till the end of the text for the sake of an image mentioned in the text. When we determine the position of an image, we ought to consider the necessity to provide space for information related to the image (caption). 7. Pictograms The pictograms are symbols of guidance, information, document images, which are used instead of subtitles. Why would we want to do this, why do we need to avoid words, letters in the information giving process? The use of symbols can replace long or difficult words, or it can communicated ambiguous, abstract concepts. These ideograms are the results of the encoding

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process, such as letters, which are known to be shape sounds based on abstract convention. The decoding process is not clear yet, as it is in the case of letters. We know pictograms, which have the same meaning in every country; even if sometimes we can observe variations in color or form, such as traffic signs or figures indicating the different sport disciplines. We can observe that the Olympic Games which are held in every four years, the visual identity designers always try to follow graphic what developed during that four years without any change of meaning, interpretation, they have to represent the same sport. The pictograms from the Moscow Olympics in 1980

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The pictograms of the Beijing Olympic Games in 2008 We can observe that 28 years passed between Moscow and Beijing Olympics and the pictograms has been changing in the form of the line of figures. While some of the sports most prominent movements in Moscow was illustrated with a bit stiff, stout stick people, in Beijing, these same figures were much lighter, they got more playful lines. Before the games in London the pictograms were reduced to minimum but with this event the figures have been displayed in fine, detailed lines, it is clear that the graphic was designed to simplify, rather than drawing the cartoon-like visuals. In 1996, the Atlanta Olympics figures have been devised, the silhouettes of the athletes have been presented with muscles and their gestures show dynamics - but even in the use of orange background with black colors - we can discover the characteristics of the ancient Greek art. Eight years later, in the pictogram series of the Athens Olympic Games this appears a bit hidden, although there the figures were outlined more schematic in comparison with the pictograms from Atlanta, the figures were presented on a black ocher background, they were scribe like figures, marked with white lines what clearly evoke image color and design of the the archaic vases. Another interesting thing is that Athenian symbols included four-color, two for the

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figures and two in the background. Such color pictogram earlier has only been occurred in the Mexico City Olympics in 1968.

The pictograms of London Olympic in 2012

The pictograms of Atlanta Olympics in 1996

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The pictograms of Athens Olympics in 2004

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It takes only a few seconds to visualize the symbol, or in many cases even less; we ought to consider how much time we spend with observing traffic signs while we are traveling. A good symbol fills up its function, if it communicates the essence concisely. Therefore, we have to determine its form, color, size and position that the perception and interpretation should not face even with the smallest problem. It can cause serious problems if an emergency exit indicator is not mounted visible, perhaps its size is too small or its color blends into the environment. If an intersection precedence table has too large size, perhaps it would make the visibility of road impossible so it is incapable to fulfill its role. When we are designing pictograms, we have to consider the traditions, that is, the meaning of the abstract figure is tied to one particular shape or color, may be for an extended period. If these shifts are significant, we put under risk the pictures clarity and we bring difficulty to the observer. We enjoy greater creative freedom, if we need to design a pictogram, which is a fairly new sign, or its visual background is insignificant and we create the shape and color combination. In this case we must meet with certain expectations, what is similar to designing a logo.

Traffic signs stickers in Rome 8 Logos

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Eduard Manet: Breakfast in the open air (1863) and Stano Masr: The Global History of Art (2004)

A logo is used to represent a particular product, company, service or even an individual. According to this, it has to show uniqueness and it's important to reflect this approach, what represents as a brand, because in many cases, the logo gives the first impression to the consumer about a product. An enterprise is becoming known from that point when its visual image is born and the basic elements such as the logo what later becomes the brand itself. The logo is essential not only for businesses, stores or companies but also for products, events, groups, artistic troupes or bands.

There are several types of logos. There is one that contains only figure; the other only consists of a combination of the two letters. Many companies have designed special font for their logo, which would later become the trademark of the company and it involuntarily reminds us to the original even if it is used with another subtitle. It is not uncommon that the individual fonts are associated with unique colors which can become so blended with font that if we change the colors, it will result a quite a strange impression.

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There is logo design software with open access (eg. the LogoMaker) , but it is desirable that we can edit a logo without such an assistance. Even when the software generates the logo we must have idea about what criteria should correlate with the program. In order to meet all the requirements in planning an appropriate logo, we need to get more information or venture about the product which logo we want to design. Of course we have to know the profile of the target group, but also the graphic signals of the competitors, and it has to fit into the existing corporate identity. It may be important in some cases to mediate about the tradition of the logos, as the long-established businesses may also provide a guaranty for different costumers, so it is good if we can get information from a logo.

In this case, crests, shields are placed on the drawn side of the logo and if a label is associated with it, it should also have historical nature. In other cases, a logo has to advertise even the youthfulness, freshness and up to date, against the tradition. In this case, we may want to spend time searching among modern fonts and usually it leads to a good solution if we use the stand-alone composition of letters as a logo. We must not forget that our logo should work with diverse magnifications as well and it does not matter what font is used. It must be meaningful in a quite small in size printed on business cards and letterhead paper as well as billboards or illuminated name plate above the shop entrance. The same principle should be followed when we choose the right colors. We have to think of that, the logo should remain recognizable in grayscale or in black -and-white format as well. Therefore, we should not use the complementary pairs that represent the same range of gray when they need to appear without color. A good logo always brings together the essence and this is true even if there are many subunits, text, bounding shapes. If a logo wants to say too much, generally it will be bad, the pictures applicability deteriorates and the goal to represent an ideology is not reached.

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The difference between the logos and symbols is that the former is primarily determined by market considerations and requirements that the designer of a pictogram rarely has to meet with these expectations. A further difference is that while the communication range is relatively narrow in case of the symbols, the content of the logos as well as the color and the design is associated with a broader spectrum. The basic expectation from a pictogram is to be immediately understood, although it is not a disadvantage for a logo, it is not evident. It is also important that the symbols do not have intended target audience; they are the same for all age, social status, regardless of the native language. The logo should be compared with a target audience and a company should design a logo only by taking into account the needs of this audience. It's not impolite, but a factor in a market economy.

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Nike, the Greek goddess of victory, Nike, known as a sport brand's logo.

9. Diagrams, Infographics

We are accustomed to meet with various colorful, spectacular, sometimes humorous explanatory diagrams, charts , comparison tables, flowcharts in scientific magazines, news portals , but more often in the tabloid press. This happens because a statement is much easier to read and interpret in these forms rather than just filled with text and / or numeric data. In other words, from yhe set of data we are making images, we can create illustrations to make it more interesting, and also understandable. That should serve as another proof of the previous thesis that our time is characterized by thinking in pictures. Many visualization companies are engaged in offering a service where they made according to the customers needs graphics experts prepare the info graphics or graphics - as to present the results of a scientific survey. We can also find useful software for infographics editing (eg. easel.ly ), where with the absence of graphic skills visible results can be achieved rapidly by using pre-made images, symbols, icons and layouts. The info graphic - but at the same this principle should be applied in the case of graphs and explanatory diagram - in addition to being attractive they are easy to understand as well. When we are planning we should not overlook that simple point that the primary purpose is the information transmission. To achieve this - although we have a wide range of opportunities we should choose the simplest solutions as a starting point. If the resulting figure colors, stains, and texts placement form a harmonious composition of graphics, in addition to maintain a balance of refinements, we can work out details. The easiest way to solve this is to change only the form of letters and their colors without changing any other signs from the text. Of course, the mere typographical execution is not always a satisfactory solution; in this case, a clearly focused photography can be placed as background of the graphics. Anyone who can see the data displayed on this photo automatically connects it to the images and to the content information

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and the desired association is already achieved. Alternatively, we can replace the data to be communicated with recognizable symbols. If you need to create more explanatory figure in a topic, we ought to try to display a single, or possibly recurring motif, color, and line system and we should apply a selection of fonts what are consistent and subdued. We must not forget that the genre is used in making infographics, where individual creativity is used as a tool, but the main goal is to make of the visualized content easy to understand.

Source: UNICEF Hungarian Committee

Source: http://www.unicef.org (05.05.2012)

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

Source: MTI, infographic: 1001 Beer Steins

Source: MTI

10. Visual Trends

In the case world brands, we often experience while retaining some characteristics, we can also refresh the entire visualization of an image by adjusting it to the current trends. The latest trends in computer graphics can be followed by studying the street signs posters or web interfaces. The poster art, the emerging genre of web graphics are intensely used, which can not afford to use the latest ideas due to the fierce competition. In most cases, not only the topicality of the subject can be observed, but also the visual design world as well. In other words, motifs, figures, typographic solutions and the colors associated to them is constantly renewed, transformed. The often hand-painted posters of the '70s (or disk and book covers) with few colors, shapes and text, are becoming attractive to modern eyes again. Its worn colors, yellowed, or crumpled paper represents a fancy graphical line today. The retro as trend not only vitalizes the images and the

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texts of the seventies and eighties, but also all the previous printed forms that was prevalent before the digital text editing. We can track this example on the characteristic of the font effects and illustrations in different eras, too. The eight -bit computer graphics is also enjoying a renaissance, and not just in case of the graphics, but also in terms of design as well. The organic vine motif spread out a couple of years ago, and since that it has appeared in countless variations and surface. It can be quite restrained, for additional background as an ornament, but also as in the baroque excesses it intricate hyper proliferative floral patterns. The typography became a separate genre, which refers to text-based drawings, the central motif is the letter, but it is often not necessary to maintain the legibility of graphically exciting forms.

The composition ratios of the graphic are greatly altered. Today, a billboard is inconceivable if it provides all the information about the product. It would be a logical point of view of the customer to advertise their goods so. However, if we think of a really good poster, its entire surface is filled with a graphic, a drawing, a photo, a slogan or it simply suggests a feeling. The product or the logo of the product is just visible on the bottom corner of the poster; at first it is almost imperceptible. The giant posters are usually seen on highways, and if we are looking at them, we can not see its details, so we have to start thinking about the risks of this editing principle. In this way the products name can not be memorized, which means that we
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unnecessarily spent on preparing the poster. The mechanism is not really works so. Many people remember from the public discourse that the images of the movies (where 24 frames / second gives the illusion of movement) is sometimes undercut by unscrupulous management who inserted a single frame photo of soft drink to quench thirst in the viewer's mind and at the end of the film they search for the product in the cafeteria. We do not know how much truth is in this legend, but the idea itself may be functional. Our brains are able to take a picture of something even if we saw it for a second - eg. saw photos on a billboard while we are driving - and it automatically produces the desired sensation when, for example in a shop we meet again with an image or slogan, which we apparently did not realize before.

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This type of advertising approach appeared around the late eighties and the name of Oliviero Toscani is associated with it that developed the selling in the Benetton clothing company with his revolutionary advertising strategy. His idea was that it should not only be distributed pictures about the company's clothes on smiling, happy men, instead, a kind of modern philosophy should be mediated by the advertisement, so the customer can identify with it. The first campaign of this kind advertised the 1989 Fall / Winter collection for Benetton. A black woman breastfeeding a white baby in a red sweater, the green rectangle has been displayed on the right top of the image and it became known as the United Colors of Benetton. In a series of campaigns Toscani has changed the advertising industry. His paintings reflected global issues, topics, and sometimes they are less noticeable in advertising, the images can be regarded as socio photos.

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In this chapter we have mentioned merely used graphical examples. There is a strong competitive position and the advertising agencies often push the boundaries of the ethical behavior when they launch a new campaign, we first meet with the most striking changes of form there. The autonomous computer graphics works in more modest and less direct way of communication. It is intended mainly for their audience, which provides simple communication interface such as the Internet. Many open forum sites can be found where we can browse the latest graphics, web magazines with constant updates. We are not just passive observers, but we can upload our own work and ask for professional opinions and ideas such assistance can be renewed or received for example about the use of the software, so we can become an active member of this rapidly evolving community.

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Nick Pedersen: Relics of the Past (2012, digital photomontage, Photoshop) The characteristics of the graphics which are digitally produced are sharply defined by the character of the drawing software, or software, which made them. In case of a photo -based work it is almost certain a pixel graphics program, Photoshop is used. A very sophisticated imagery can be dated to life what is an advantage, but only to some extent, the images can be enlarged without loss. Another downside is that we have to rethink well what is the purpose of the textgraphic work, because the pixel editing program, it can often cause unexpected surprise with the letters. The biggest advantage of vector graphics as it is mentioned that it is infinitely zoomable without degrading the quality of the drawing or text. In return, here we can find significantly fewer opportunities such as filters and effects in the menu, but the role of a vector of software is not to that airbrush the photo. The most common vector programs are Adobe Illustrator and CorelDraw. Since Adobe is targeting the specialized areas of complex software packages, in which all the necessary applications can be found such as the publishing, Corel sales statistics indicators have deteriorated and slowly it is pushed out of the user market. It is important to note, a digital image can not only be made pixel or vector graphical, and these programs can be used in the same picture. The third major area of computerized graphics is the drawings, which illustrate a technical model. We think primarily of architectural and engineering drawings, CAD is the most commonly used programs for engineering designers. The 3D programs can be listed

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here; even if with them mostly not technical drawings are prepared. Both with the use of 3ds Max and Maya the human learns modeling as a first step. It is a virtual sculpture where first simple objects, bodies of rotation are created then the three-dimensional complex shapes. We can cover the figures with varied surfaces, skin, and we can choose the lights too. Then we draw spaces, interiors and various environmental objects, and eventually an entire virtual universe is built. Excellent examples are the 3D professional graphics application of the latest generation of computer games such as the Pixar Animation Studio 's films .

Scene from the game Call of Duty (Activision) FPS

11. Epilogue In the first chapter of this book we reviewed the formation of an apparatus, which we might consider as a necessary and indispensable aid of our comfort. We know that a modern computer is only a masterfully designed tool, but also a fun multimedia center and it is not only the primary means of communication with mobile phones, but also a suitable object to obtain and disseminate information. It is also not entirely new that these two devices inevitably influence the contemporary visual culture; critical aspects which are considered by the user or mostly by the graphics editor are is important. It is a question if we are sufficiently familiar with the tools of visual culture and we are creative enough to know the application of the rules. In addition,

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many of the principles are based on subjective feelings, impressions and therefore sometimes we can not rely on the standard by which an exact opinion can be formed. The tasks in the workbook do not have a uniform construction schedule, as most of these cases, there are many good solutions. It depends on the encoding and decoding mood of the person, taste what is also not a fact of rational judgment. I believe that the visual sense of beauty is something like a rule, basically everyone has it, some people are confident and reliable to use it, and some people are uncertain. A piece of advice for the latter is to examine critically imagery of their surrounding, and this textbook provides aspects to this basic critical position. I have to say that anyone who is able to formulate relevant criticism and argument after obtaining some skills and practice he will be able to create his own work beyond criticism, by pen, brush or keyboard.

The training material was realized under the "Mobile development with the application of an innovative information technology knowledge," the code of the project TMOP-2.2.4-11/1-2012-0055 .

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