This course introduces digital image editing as an element in the design process. It discusses general topics such as conceptual graphic design and design communication, as well as specific skills in model photography, drawing reproduction, image adjustment and digital computer skills. Students use Adobe Photoshop, Illustrator and InDesign in the solution of design and communication problems. Graphic layout and presentation critiques will be continuous throughout the semester. This course will assist students in the production of well-conceived, well-designed portfolios and presentation graphics in design studio. [1.5 Credits]
catalog design studio 1.5 full 13
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Interiors Studio 1 is the first project-based studio designing environments for the experience of the inhabitants of interior space. Course participants will frame a series of interiors problems in the process language of definition, goals, objectives and performance criteria, enabling the application of creative methods for problem solving. Examples of problem-framing and process tools from practice will be introduced. The elements and principles of design will be explored in terms of the materials, volumes and systems specific to interior space. [3 Credits]
This core disciplinary design studio introduces students to the fundamental knowledge and technical skills used by landscape architects to conduct inventory and analysis for projects within the built environment. Complex data sets often inform decisions about land use, development, infrastructure, community and ecological well-being. The processes of collecting, analyzing, and synthesizing data may provide a foundation for both the cultivation of new knowledge and the development of conceptual frameworks or approaches to design. The studio situates analytical methods as integral to design processes, incorporating quantitative landscape performance goals to establish social, environmental, and economic benefits. Students will explore tools and methods for mapping, documenting and designing landscape systems, and develop representational techniques to communicate their ideas. [3 Credits]
These ICs were featured earlier in various popular electronics magazines around the world. For many years Creative tended to use off-the-shelf components and manufacturers' reference designs for their early products. The various integrated circuits had white or black paper stickers fully covering their top thus hiding their identity. On the C/MS board in particular, the Philips chips had white pieces of paper with a fantasy CMS-301 inscription on them: real Creative parts usually had consistent CT number references.
Model CT1330, announced in May 1991, was the first significant redesign of the card's core features, and complied with the Microsoft MPC standard.[9]. The Sound Blaster Pro supported faster digital input and output sampling rates (up to 22.05kHz stereo or 44.1kHz mono), added a "mixer" to provide a crude master volume control (independent of the volume of sound sources feeding the mixer), and a crude high pass or low pass filter. The Sound Blaster Pro used a pair of YM3812 chips to provide stereo music-synthesis (one for each channel). The Sound Blaster Pro was fully backward compatible with the original Sound Blaster line, and by extension, the AdLib sound card. The Sound Blaster Pro was the first Creative sound card to have a built-in CD-ROM interface. Most Sound Blaster Pro cards featured a proprietary interface for a Panasonic (Matsushita MKE) drive. The Sound Blaster Pro cards are basically 8-bit ISA cards, they use only the lower 8 data bits of the ISA bus. While at first glance it appears to be a 16-bit ISA card, it does not have 'fingers' for data transfer on the higher "AT" portion of the bus connector. It uses the 16-bit extension to the ISA bus to provide the user with an additional choice for an IRQ (10) and DMA (0)m channel only found on the 16-bit portion of the edge connector.
Eventually this design proved so popular that Creative made a PCI version of this card. Creative's audio revenue grew from US$40 million per year to nearly US$1 billion following the launch of the Sound Blaster 16 and related products. Rich Sorkin was General Manager of the global business during this time, responsible for product planning, product management, marketing and OEM sales. Moving the card off the ISA bus, which was already approaching obsolescence, meant that no line for host-controlled ISA DMA was available, because the PCI slot offers no such line. Instead, the card used PCI bus mastering to transfer data from the main memory to the D/A converters. Since existing DOS programs expected to be able to initiate host-controlled ISA DMA for producing sound, backward compatibility with the older Sound Blaster cards for DOS programs required a software driver work-around; since this work-around necessarily depended on the virtual 8086 mode of the PC's CPU in order to catch and reroute accesses from the ISA DMA controller to the card itself, it failed for a number of DOS games that either were not fully compatible with this CPU mode or needed so much free conventional memory that they could not be loaded with the driver occupying part of this memory. In Microsoft Windows, there was no problem, as Creative's Windows driver software could handle both ISA and PCI cards correctly. 2ff7e9595c
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