There are several basic elements contributing to the creation of a successful website. Interesting content, good design and ease of use are the most important elements that will help make your site popular.
Let's now take a closer look at the main elements of the site.
1. Content (content).
Good content is the most important key element of any website. Site content is the main reason why visitors visit your site. If the content on your site is of poor quality, you can be sure that random visitors will quickly leave your site and never come back. Your website content should be literate and well-designed. Truthful information about your company, goods or services - required condition... Placement should never be forgotten general information about the company, as well as contact information. You should always remember that the information posted on the site should be useful to visitors. Also, make sure that the site content is periodically updated and does not contain grammatical and lexical errors, as this is a direct reflection of your company's image.
2. Visual appeal (beautiful design).
We all know the importance of first impressions. This importance extends to sites as well. The decision to view your site's content largely depends on whether your visitor will like the look of your site or not. Website design should be simple, but at the same time attractive (like our website :)). The site should be tasteful but not pretentious. Flickering letters and images can irritate and scare off most visitors instead of attracting them. In addition, it can make the information difficult to read, which is unlikely to please the readers. On the other hand, dynamic and interactive elements give the site modern look... In this issue, the balance of convenience, means of attracting attention and information component is important.
3. User interface.
A good user interface is another key element of a good website. The user interface should be user-friendly and should make it easier to find the information you need. For links to key sections, it is best placed at the top of the site. This will make it easier to find the information you are looking for. A good user interface also means having these links at the bottom of the site page, or even a few additional links. Large sites with a large number of pages should have a sitemap.
4. Location of information.
Avoid placing text on top of a background, especially a dark background, as this makes the reading process difficult. Research has shown that dark text on a white background is the best combination for reading and memorization. It is best to divide the text into paragraphs containing 4 - 5 sentences. Make sure your page contains enough white space to make it crisp and neat. All pages must have the same margins. Consistency should be observed throughout the site by using the same fonts, colors, and layout on all pages. It is noticed that multiple scrollbars are the most annoying for visitors. Therefore, try to keep their use to a minimum.
5. Site search tools.
Good sites with many pages have a search area that is used by site visitors. This is a very useful feature as it allows potential customers to find what they need without too much difficulty.
6. The design and content of the site must be separate.
The most advanced sites on the Internet combine the use of (X) HTML and CSS to separate design from content. Among the many advantages of using this standard, it should be noted that updating just one CSS file changes the entire site. Moreover, separating the content from the design will ensure fast loading, since search engines you do not have to check additional codes to find out if the content of the site is relevant or not.
Likewise, the minimum possible use of animation, music and video can ensure a fast loading of the site. Internet users usually do not have enough patience and time.
7. Mutual browser compatibility (cross-browser compatibility).
Another key element of a good website is compatibility with many major browsers and platforms. The success of a site can also depend on how well it is optimized for search engines.
These are just a few of the key elements of a good website. Thanks to the constant improvement of technologies, new methods appear to improve the site, which we use when creating sites.
When I was offered this topic to write my thoughts in the form of an article, I thought for a long time about what to write about, because, in fact, the whole article fits into one sentence, which is a direct answer to this question - All documents should be spelled out and no points should be in the mind. Why is it so? Let's consider the points:
1. Usually what you have in mind never coincides with what the customer has in mind. In such cases, a moment arises when the Customer says that he assumed the work / appearance / design was not the same as what you did and, unfortunately, you cannot argue with this, since there is no documentation that will confirm your words. And an endless stage of rework begins, until the client plays enough or receives a product that, in his opinion, is ideal. At the same time, you go beyond the budget, and the project as a whole becomes not only not profitable, but unprofitable.
2. The project is a "thing" alive and, of course, during its implementation, new trends and goals / tasks will arise that the client wants to immediately implement. Again, if all these things are not spelled out in the task, then you will work a lot, and most importantly - for free. After all, if you refuse, the client will refuse to pay even for the work that has already been done and at such a moment everything is done to get "at least something." At the same time, having a competent task, you can not only refuse, but also motivate the client for additional paid work.
Consider, using the example of a company RBC SOFT, what and in what format should be described in the terms of reference.
Our company develops projects on its own CMS, and almost all standard functionality has already been implemented in standard modules. All these modules have a technical description of the functionality of the module. And for the development of typical projects, it makes no sense to write everything from scratch. Therefore, together with the client, when discussing the project, all the functionality of the future project is immediately determined, the necessary modules are selected and their description is reduced to the terms of reference. With non-standard functionality, the new functionality is carefully described in the format of this document. Next, the document is ready agreed with the client, signed and is an integral part of the contract.
Next, a new document is introduced - Art assignment describing the entire structure and artistic component of the project. After a 2-3 hour client briefing, the analyst and art director develop this document, which describes the structure, visual blocks, corporate colors, user chains, portraits of the target audience, goals and business objectives of the project. Yet again, this document is agreed with the client and signed. On the basis of the artistic assignment, the design of the future project is developed and the client in 99% of cases accepts the work, since during the presentation he does not have a question why it is this way, and not in another way. Everything is agreed and described in the art assignment and if you want to change something, ask the question: “Why? What will this change change in the proposed solution to the business problem that was formulated in the assignment? " Not having a similar document, you can enter the stage of "moving" pictures and "enlarging" the logo, which can last indefinitely and as a result, a stillborn project will be born that does not solve a single problem from a business point of view, but, as you know, any commercial project is designed to solve business problems.
And so, once again, to summarize, the documentation describing the task (this should not only be a technical task) should contain the most complete description of all facets of the project, from functionality to appearance and business tasks, otherwise you risk getting a stillborn
Finally, the rule of working with a client: More paper - cleaner butt!
Igityan Tachat,
Director of the direction of interactive communications,
RBC SOFT
In order to evaluate the interior, to give its ideological and aesthetic characteristics, it is necessary to know the evaluation criteria. It is not enough to say that this interior is beautiful or ugly; such an assessment does not reveal even the most general aesthetic content. It is necessary to know some categories, evaluation criteria, to divide the quality and content of the interior into its components and already summing them up to reasonably talk about the advantages or disadvantages of the interior. A designer or artist, working on the creation of an interior, should also be guided by these categories and know what determines the ideological and aesthetic value of this interior.
Let's try to highlight some General characteristics interior, excluding any practical and aesthetic content. These features are: external form, relationships, volumetric-spatial structure and material from which the elements of the objective environment are made, the walls of the room, the interior of which we are considering.
External form. The interior of the room, the object environment are three-dimensional forms. Design and perception of form is based on the objective properties inherent in any form. This is a geometric view of a form, its placement in space, the patterns of its perception.
The shape of the interior and its components can be symmetrical or asymmetrical. Symmetry is a term we know. We know that symmetry is inherent not only in an elementary object, but also in an object consisting of several parts.
Mirror and axial symmetry are known. The human figure is a typical example of mirror symmetry. Examples of axial symmetry are all bodies (products) of revolution, an apple, a pear, etc. We call symmetry the same arrangement of equal parts in relation to a plane or line. It is one of the most powerful means of organizing the form.
All the diversity of the real world is built on the basis of symmetry: organic substances, flora, fauna, and man himself, and, as you know, artists borrow many, many ornamental motives from nature.
The simplest kind of symmetry is mirror symmetry of the left in the right, upper in the lower and vice versa. In this case, one half of the form is, as it were, a mirror image of the other. An imaginary plane dividing a shape into two equal parts is called the axis of symmetry.
The axis of symmetry should not be understood literally as a line that must in any way be present on the surface of an object or in a plane. This axis is mental, its existence is determined by the presence of elements (details) gravitating towards such an imaginary line and creating a feeling of the axis due to the same arrangement of elements on both sides of it. If the axis is revealed too clearly, then the general structure may fall apart into two little connected parts.
The axis of symmetry can have different directions - vertical, horizontal, diagonal, as well as the presence of one and the other at the same time.
The main axis uniting the entire structure can be accompanied by subordinate axes that determine the symmetry of the parts. With the frequent repetition of the axes, a rhythm arises. Rhythmic repetition is extremely characteristic of the interior. The main task when using rhythm is to select the repetition rate of the slave axes.
The system of construction, interior, furniture is associated with the organization of its functions, for example, the plane of symmetry - the axis of a building, room or furniture - usually determines the location of the main entrance and the beginning of the main traffic flows.
When talking about axial symmetry, we must not forget the figures with central symmetry (circle, square), where the whole structure is built around the central axis. The same motive moves several times at a certain angle relative to the center.
Asymmetry is just the absence of symmetry. The state of completeness of such structures is found by optical balancing of their parts. Asymmetric solutions are more dynamic than symmetric ones, but also more difficult for perception and subordination.
An asymmetric design can be made up of symmetrical parts, the connection between which does not obey the laws of symmetry. Many natural forms also have this character - parts are subordinate to symmetry, the whole is asymmetric (for example, leaves and a tree as a whole).
Geometric shape view determined by the nature of the outline, and its size. In relation to the interior, these are square, rectangular, curved, cylindrical, complex surface shapes. The placement of the form in space is determined in relation to the coordinate axes and to the viewer. The shape in the coordinate axes is determined by the parameters of the interior - length, width and height. The viewer can look at the form from different points of view - covering the entire interior or part of it with a gaze, the angle of view, the height of the observer's location, etc. can change.
Patterns of visual perception of the form. The quality of the object-spatial environment seen by a person does not always correspond to reality. This is due to optical illusions, which are caused by both the physical properties of objects and the peculiarities of a person's binocular vision, his primary orientation skills. When looking at a complex subject education, a person seeks to reduce this complexity to some simpler, ordered system. So, symmetrical closely spaced elements are perceived as a single whole, asymmetric - as separate forms. We can say that symmetry has a grouping property. The perception of volumetric-spatial forms largely depends on the position of the viewer relative to these forms. The normal angle of view should not exceed 50-60 °, otherwise the dimensions of the interior will be distorted. It is also very important to choose a point of view, that is, the position of the observer in relation to the object.
Relationships. Both the interior and any object that makes it up has dimensions and real value. They are also characterized by their internal relationships. For example, in a column we capture the ratio of the diameter and height, in the picture on the wall its dimensions in relation to the dimensions of the walls. Ratio is closely related to the concepts of contrast and nuance. Here, contrasting or nuanced relationships can be applied to any object of the material world. For example, large and small ball- contrasting in size, contrasting in color red and blue, etc. In nuanced ratios, the degree of similarity or dissimilarity, on the contrary, is brought together. For example, by color: dark blue, blue, light blue, light blue, etc. or Russian nesting dolls, gradually decreasing in size.
Comparisons can be varied in size, plastic form, texture, texture, etc.
Material. A variety of materials are used in the interior design, most of which are familiar to us, recognizable. V last years a lot of new finishing materials have appeared, sometimes completely unfamiliar, according to outward appearance not always recognizable. Sometimes, in order to determine the material, you have to touch it, examine it more closely. The surface of each object has its own qualities, it can be smooth or rough, polished or grooved. More details about the materials used in interior decoration are described below.
Knowing the main features inherent in any object, any interior, regardless of its aesthetic qualities, we approached our main goal - the knowledge of what a harmonious form is, what are its features, how it is created.
The process of creating a harmonic form, a harmonious piece is called "composition"
Composition(from Lat. Compositio - composition, composition, connection, arrangement), is a scientific discipline that considers the patterns of formation, the location of individual components of an image, its elements and parts in a certain system and sequence - a means of revealing the ideological and artistic image of a work.
The techniques and means of composition have been known for a long time and are widely used in artistic practice: in architecture, literature, painting, music. design.
The skill of building a work, composition consists in the artist's ability to organize separate disparate elements into a single whole.
For example, an artist, intending to paint a still life, selects the components and arranges them in a certain order. Already composing this still life is a composition. Setting the light, choosing the background and, finally, writing the still life itself with its adjustments is also composition.
Or, another example - an artist in the open air, paints a landscape, mentally removing some trees, replacing them with others, rearranging elements, that is, achieving the completeness of the work, its organicity, he also works on the composition. This work of the artist is helped not only by inner intuition, but also by the knowledge of the laws of composition.
For successful interior design, you need to know the basic laws of composition, and be able to use its means.
Speaking about the patterns of formation, it is necessary, first of all, to represent the properties of the form, its position in space, etc.
The interior of the room, the object environment are three-dimensional forms. Design and perception of form is based on the objective properties inherent in any form. This is a geometric view of a form, its placement in space, the patterns of its perception. See above.
When evaluating or developing an interior, two types of compositions can be distinguished: frontal and spatial.
Frontal composition. It is characterized by the development of the form along the horizontal and vertical coordinates. Frontal composition is perceived when the viewer moves towards it or along it. This is a frontal projection of one of the interior walls.
Spatial composition typical not only for the interior of premises, but also for architectural, garden and park ensembles, recreation areas. In a spatial composition, elements can be located and, accordingly, perceived by the viewer along vertical, frontal and depth coordinates. It is the most complex of all types of composition, since in addition to the compositional solution of the constituent elements of the interior (furniture, equipment, gardening parts, etc.), it requires compliance with the laws of their organization into a single compositional whole.
Properties and qualities of the composition. Composition is considered in two interrelated manifestations: on the one hand, as a process of design creativity (shaping), on the other, as a result of this creativity, that is, a finished form, a sample.
Accordingly, in the process of working on the form, the designer uses the techniques and means of compositional shaping, and to assess the progress of the design or the finished product, he uses the properties and qualities of the composition.
The qualities of the composition include volume-spatial structure, proportionality, scale, compositional balance, symmetry and asymmetry, static and dynamic form, unity of style, coloristic and tonal unity. In all definitions of the composition, the unity and integrity of the form are always distinguished, which are manifested in such a quality as harmony.
In the design process, the necessary qualities of the composition are provided with the help of compositional means. These include proportions, scale, contrast, nuance, identity, metric and rhythmic repetitions, plastics, as well as a group of tools based on the use of color and tone, texture and texture of the material.
The means of composition also include qualities - states of form, such as tectonics, volume-spatial structure, symmetry and asymmetry, static and dynamism.
Thus, the means of composition are used in the process of designing a form, while it is necessary to take into account the patterns of manifestation of each of them. When assessing the composition, the tools also act as quality criteria (scale is assessed by scale, proportions - proportionality, symmetry - symmetry, etc.). As objective criteria for evaluating the shape, such factors of shaping can also be used, such as product functions, material and its properties, compliance with ergonomic and other requirements.
In the process of working on the shape of the product, not one, but several compositional means are simultaneously used, since they are interdependent and connected with each other. For example, symmetry, as a rule, is associated with static, proportions - with scale, etc. Harmony and integrity of the form are usually achieved with the help of many compositional means.
For methodological purposes, it is better to consider the essence of each quality and means of composition separately.
Harmonious integrity and imagery of form. Harmony and integrity are achieved by the interconnection and subordination of the laws and properties of the composition. This is proportionality, scale, compositional balance, the unity of the character of the form of all elements, coloristic, and tonal unity. All this gives a harmonious integrity of form, artistic expression and aesthetic value.
What is integrity?
The integrity of form is a concept born in the field of art, for which a figurative, metaphorical language is natural. The law of integrity follows from the basic law of the integrity of the world and its materiality.
In design, which is at the intersection of art and technology, it is filled with concrete content. All elements of the composition are in mutual connection and dependence - this is the first thing. Each element must be itself compositionally organized - this is the second. Together, all the elements must make up a system, that is, integrity.
The system is a subordination of the main, less significant and secondary elements. The integrity of an artistic thing makes it possible to immediately grasp it with a single glance and at the same time determine the main part in it, around which less significant, but also necessary elements are placed.
The main and the secondary in the composition. The main law of composition is the selection of the main compositional center. The expressiveness of the object is enhanced by the artistic highlighting of the main part in it, a detail that easily becomes noticeable against the general background of the surrounding or adjacent parts. This main element or group of elements is conventionally called the center of the composition.
There are a number of techniques for selecting a main element or a group of elements:
1 - the main thing in the place of the position of the form in space;
2 - the main thing in terms of the size of the form;
3 - the main thing in terms of the structure of the form;
4 - the main thing in color.
The second important task is to find the location of the main element in the composition. The center of what is happening is located in the most prominent place (plane, space). He must first of all grab the attention of the viewer. This is the plot and composition center. It expresses the ideological content of the entire composition. When finding the place of the plot-compositional center, it is important to find the ratio of the plot center with the size of the plane or with the dimensions of the space in which the compositional problem is solved. How to highlight the focal point?
More in a simple way is the geometric center:
1 - at the intersection of radial lines in a circle;
2 - at the intersection of the diagonals in the square;
3-in a rectangular shape, the center is usually slightly offset upward from the middle. It has to do with visual perception. If the compositional center coincides with the geometric center, then the illusion of falling will be created. The location of the center depends on the nature of the action, the direction of movement, as well as on the general ideological concept. At the same time, it should be borne in mind that the compositional center can be located anywhere in space or plane, but the only condition is that it must be balanced by any object (volume) that is suitable in meaning, theme, style.
In a complex compositionally developed form, along with the main compositional center, there may be centers of their own, but in terms of the power of expressiveness, they should be less significant than the general center.
It can be concluded that the volumetric-spatial structure is the most important beginning that determines the quality of the entire composition. The harmonious solution of the future product and the integrity of the composition are laid already at the stage of formation of the volumetric-spatial structure. A designer can achieve a high level of composition only if he delves into the very essence of the design. Therefore, work on the form should be carried out at the beginning of the design, when the structural diagram of the product, the principle of its layout, that is, the placement and interconnection of the main elements of the product are identified.
The volumetric-spatial structure, being the properties of the composition, also serves as its important means, since with its help the foundations of the quality of the form are laid.
Compositional balance. An important property of a composition is its balance. Equilibrium is a state of form in which all elements are balanced with each other. It depends on the distribution of the bulk of the composition relative to its center (center is a conditional concept). Equilibrium can be achieved by keeping the right and left parts of the shape identical, based on symmetry, or in a more complex way. Its essence lies in the fact that the balanced elements of a composition or a group of them receive such a form and processing that their expressiveness is leveled. So, an element of a small area, dark, dull color can be balanced by another - a large area, light color and with the presence of small details. This technique underlies the balance of objects with internal asymmetry. In it, individual elements, which have their own compositional structure (axes, rhythm, center), balance each other in such a way that the overall whole is visually stable and static.
Compositional balance does not necessarily correspond only to deep, static, stable immobility. It can also be dynamic, where internal dynamics or movement of parts can create the impression of instability, but not going beyond the whole, and must be stopped by details that calm the internal movement and prevent details from breaking out of the compositional space.
Compositions can also be static, that is, those where there is no internal movement. As a rule, the impression of stability is created by using perfect geometric shapes - equilateral and isosceles triangles, squares, arches, trapezoids, and in volumetric compositions - cubes, pyramids, straight prisms.
An ellipse, a circle, a ball, a lying cylinder give the composition dynamics, since these shapes are unstable.
Static and dynamic form. The division of the entire objective world into moving and stationary objects led to the presence of a static and dynamic composition. For a static composition, regularities of symmetry and metric structure are characteristic, for a dynamic one - asymmetry and rhythm.
In a dynamic composition, the main direction of movement is always present - the axis. Only along it can the dynamics of movement develop. The mutual balance of the parts on the sides of the axis restrains movement in other directions.
Composite shaping techniques. Compositional techniques by themselves have no absolute aesthetic value. In ancient times, the means of composition did not serve as a surface decoration, but for organizing the material in a work, for constructing an expedient, durable, and convenient form. The composition of a product is an artistic and expressive system of their form and decor, which provides aesthetically perceived legal placement of all parts and elements (volumes, surfaces, lines, colors).
If a designer tries to use the same compositional technique in designing products for different purposes, then he will certainly suffer a creative failure. The shape of the product should reflect its purpose, design basis and production technology. The carriers of compositional laws are: volume, spatiality, strength, massiveness, density.
The work on the harmonization of the form is carried out after the design of the product has been clarified, the choice of materials, the establishment of functional dimensions and ergonomic requirements. From the very beginning of work on the form, the designer reveals the idea of composition, that is, the compositional technique that will be taken as a basis and then consistently developed.
Proportions and proportioning. Proportion, scale, contrast, nuance represent the next qualitative step in the regular organization of the form and characterize the aesthetic merits of the form.
The proportions of forms are understood as harmonic proportions of the sizes of parts, sides, areas, etc. The proportions determine the ratio of parts between themselves and the object as a whole. When determining the proportions, the reference boundaries are the places where the shape is broken, if it is solved on the basis of light and shade, or the lines of joints of parts, if the planar composition is built on the basis of the contrast of the constituent parts. Dimensional relationships between the elements of the form, that is, the proportionality between parts and the whole, serve as an important foundation on which the entire composition is built.
The shape of interior elements, in most cases, is simple geometric shapes. For the composition of interior elements, it is very important to have an expressive ratio of length and width, especially if they are repeated many times. When searching for the ratio of the length and width of interior elements, a square can be taken as the original figure. But the square shape is weak, there is no contrast in it. A more expressive shape is a rectangle. It can be built on the basis of a square and get different ratios of length and width.
Considering the practice of proportioning, the method of constructing rectangles with a complex aspect ratio should be noted. The most widespread and popular proportion or method of "golden section" The method of "golden ratio" ("golden proportion", harmonic division) is dividing the AC segment into two parts so that most of its AB refers to the smaller BC as the entire AC segment refers to AB, that is, AB: BC = AC: AB.
It should be noted that proportional relationships are an important means of composition, influencing the subordination of form elements, its dynamism or staticity, and visual stability.
Scale and scale. An important condition achieving the harmony of the composition is to determine the correct scale. In a broad sense, scale is a ratio that allows you to determine an unknown quantity in relation to a known one.
The scale of the objective world is understood as the proportionality or relative correspondence of the shape and size of the object to its purpose and the size of the person.
For a person to be able to really perceive the magnitude of the visible, he needs, at least subconsciously, to compare the size of things with something well known. In his activity, a person acts as a measure of all things. Therefore, when designing a building next to the facade, the architect depicts a human figure on the scale of the drawing. Similarly, when creating household items, furniture, we associate their sizes with the anthropometric data of a person, as well as the environment in which they are located. For example, a bed for an adult in a children's room, low chairs in a room with high ceilings, bulky items in a cramped room, etc. will be small-scale.
Contrast, nuance, identity... A prerequisite for achieving harmony is the observance of the measure of contrast, the creation of smooth transitions between contrasting elements.
Contrast is the most common means of emphasizing and enhancing the expression of a compositional element. It represents a sharp opposition of characteristics, for example, dark and light, large and small, simple and complex, straight and curved, smooth and rough, flat and embossed, light and heavy, and the contrast in the position of elements in space avoids lethargy and monotony in artistic solutions. Combining several opposing characteristics can enhance contrast. Thus, a light smooth surface will appear more contrasting to a dark relief than a light surface to a light relief.
The choice of the degree of contrast is determined by the artist based on his intuition and artistic experience. Very strong contrast can visually destroy the subject. Therefore, the degree of contrast used is limited by the requirement to maintain the integrity of the visible impression.
In solving the composition, the nuance plays an important role, the essence of which lies in the smooth transition of the characteristics of the composition element in the direction of strengthening or weakening. It assumes little difference in properties. In composition, it is inextricably linked with contrast. If the contrast is not complemented by subtle nuance transitions, it can coarse the form, destroy its integrity. Nuance is a sequential transition from one property to another, for example, from light to dark, from large to small, from simple to complex. Artists also use nuance in form, position in space, etc.
If you enhance the nuance, it can turn into contrast. If we weaken it strongly, it will turn out to be visually indistinguishable, that is, it will become an identity. Identity is equality.
Identity is used when there are repetitions of the same elements, therefore it is associated with those means of composition that are based on repetitions.
Metric repeat. Repeated repetition of any element with the same interval is called a metric series, or meter. This composition tool is widely used in the design of furniture, especially cabinetry.
Repetition as a kind of order begins to be perceived from the moment when the number of elements is not immediately captured. Five elements are still subconsciously counted, and six, seven or more are perceived as a group. Consequently, with six or more elements, perception is affected by the pattern of multiple repetition.
The perception of metric series largely depends on the complexity of the elements themselves. For example, three-dimensional or complex elements evoke the feeling of multiple repetition earlier than planar and simple ones.
Metric series can be of different complexity. Simple rows are based on identical repetitions of one element, in more complex ones, for example, three, four rows, or several metric repetitions can develop at once.
If the length of the metric series with the same elements is too long, to achieve compositional expressiveness, individual elements can be arranged in groups. Then the row will become more complicated and not only the elements, but also their groups will alternate. The construction of ornaments is based on metric repetitions.
The laws of rhythm are manifested in the structure of a tree, human activity, the operation of machines, etc. That is why rhythm and meter also belong to the main means of form composition.
The rhythm can be simple, based on repeating the same form, or complex, based on repeating groups of forms. Complex rows can also be formed by combining several simple rows. Within the rhythmic system, metric rows can be formed. The number of possible combinations is endless.
The activity of the rhythm in the composition depends on the strength of the manifestation of the rhythmic pattern itself. If the alternation changes are insignificant, the rhythm will be weak. On the contrary, with an acute change, the rhythm can serve as the main beginning in the composition. Much also depends on the length of the row. If it is too short, it will not be able to take on the organizing role. The rhythmic series involves at least four to five elements. Three elements do not create the impression of a regular repetition, since they are perceived as the beginning or a fragment of a series.
At the same time, excessive row length is tiring. The feeling of oppressive monotony builds up especially quickly when the rhythmic order is simple and its accents are active.
To remove the feeling of monotony, the technique of stopping the rhythm is used, disrupting the continuous sequence of its series.
Rhythmic repeat, or rhythm, is the pattern of composition, which is based on gradual quantitative changes in a series of alternating elements.
Plastic form. Plasticity, or sculpturality, is a property of any form. And how this shape is "sculpted" can have a decisive influence on the appearance of an object. Therefore, keeping the same volumetric-spatial structure, we still have many opportunities to modify, vary this external form.
A mobile phone, for example, can be both round and consisting of planes, "amorphous" and "crystalline" - and this is with exactly the same internal structure.
Plastic characterizes the features of the volumetric-spatial structure, determines its relief, saturation with shadows and light, the form of transition of forming surfaces and lines. The plastic form has soft, smooth transitions of the forming lines. The edges of this shape are valeted or rounded. A form that has no plasticity, sharp, chopped, ascetic. Plastic is also associated with shadows. In a complex shape, some of the surfaces or elements are in the zone of deep shadows and contrasts with the illuminated ones, giving the volume a graphic expressiveness
Shape plastic and shade structure are especially important in achieving the integrity of small and miniature shapes.
1. What is the value of the studied course for students of technology?
2. What is aesthetics and how does it relate to the interior?
3. The history of the emergence of aesthetics as a science.
4. Modular systems and proportions in ancient Greek architecture.
5. List the main styles in architecture and art.
6. Describe the main styles in architecture and art.
7. Describe a harmonious piece.
8. What is composition and its importance in creating an interior?
9. What is meant by the main and the secondary in the composition?
10. What is compositional balance?
11. Describe the techniques of compositional shaping.
12. What are some examples of proportions and proportioning?
13. What is scale and scale?
14. What is contrast, nuance, identity?
In this article, we will consider what elements need to be paid special attention to when creating a design for a site, what should stand out from the design and focus the visitor's attention.
This will make the site the most effective for you and user-friendly.
All pages of the site must be made in some specific design style, which was originally conceived. But when designing certain elements of the page, they should be given more attention. Because they are the most important and strategic, it is necessary that they somehow stand out from the page and the user does not have to search for them for a long time.
What are these elements:
Element # 1. Menu. The menu is an important part of any site, so it should be designed appropriately, be logically and graphically understandable and immediately catch the eye of the visitor. Do not force the person visiting the site to search for your menu.
Element # 2. Subscription form. The subscription form is a strategically important part of your website. The number of subscriptions to your mailing list will largely depend on its location and design. The form itself attracts attention. However, sometimes its size is greatly reduced and installed in such places that it is very difficult to notice it among the rest of the content.
Therefore, try to set the form as high as possible, for example, in the site header, immediately below the menu, or at the top of the right or left column of the site. Here everything will depend on what kind of site you have and how you conceived to mark up the various elements.
Element # 3. Subscribe to RSS. Currently, in Runet, they are not as willing as they would like to subscribe to RSS, although this still depends on the topic of the site. However, you should not neglect and hide the RSS subscribe button somewhere. It should stand out and be visible. Therefore, most sites make big beautiful buttons for subscribing to RSS, as well as write various calls, slogans and do absolutely the right thing.
Element # 4. Services and goods. If you provide any services or have certain goods that you promote through your website, then be sure to include a link to the page with their description in the most prominent place. It is best to highlight it in any color so that it is clearly visible and stands out from the rest of the link mass located on your page. In most cases, it is located in the top menu of a website or blog.
Element # 5. Connection. A link to a feedback form or a page with contact information is very often placed in hardly noticeable places, and you have to look for it. It is best if it is placed at the top of the page and is easy to catch the eye of your visitors.
Element # 6. Search form. Some sites ignore this element altogether, and there is no search form on them. Some don't give it to her special attention and in order to use it, one has to look for it at the beginning. In fact, if your site contains not even a very large number of pages, then you just need to have a search form and it should be located somewhere at the top of your site.
So that a user who visits the site can easily notice it and, if necessary, immediately use it. Often, site visitors do not have time to browse the entire section or site in search of certain material, so the presence of this form in a prominent place will determine whether the visitor will remain on your site or move on.
These are basically all the main important elements that should be visible and stand out on your page.
Here, you can add only the registration and authorization form on the site, if such a possibility is provided on the site at all.
Material prepared by the project:
Option 4
Read the text and complete tasks 1 - 3
(1) In 1943, the Hungarian Laszlo Biro, who received an order from the British Royal Air Force to develop a pen capable of writing at high altitudes at low pressure, first proposed the use of a rod consisting of a channel covered with a metal ball. (2) The first ballpoint pens were just terrible: balls fell out, air bubbles blocked the nibbler, ink often began to leak out, and at first people were more familiar and seemed to be easier to write with a regular fountain pen. (3)<…>A ballpoint pen could write with a stronger pressure than a fountain pen, it did not scratch the paper, it made fewer blots, and therefore quickly gained popularity.
1. Indicate two sentences in which the MAIN information contained in the text is correctly conveyed. Write down the numbers of these sentences.
1) Ballpoint pens, invented by Laszlo Biro for the British Air Force, quickly gained popularity, despite a number of shortcomings.
2) A ballpoint pen capable of writing at high altitudes with low pressure was developed by the Briton Laszlo Biro: he used a rod consisting of a channel blocked by a metal ball.
3) The first ballpoint pens, invented by order of the British Royal Air Force, were not in demand by the population: people preferred to write with ordinary fountain pens.
4) Despite the fact that the first ballpoint pens, invented by Laszlo Biro for the British Air Force, had many disadvantages, they quickly became popular due to their fundamental advantages over fountain pens.
5) Laszlo Biro went down in history as the inventor of a ballpoint pen that could write at high altitudes with low pressure, did not scratch paper and made fewer blots.
2. Which of the following words (combinations of words) should be in place of the gap in the third (3) sentence of the text? Write down this word (combination of words).
For instance,
Therefore
Moreover,
3. Read the glossary entry for the meanings of LOW. Determine in what sense this word is used in the first (1) sentence of the text. Write down the number corresponding to this value in the given fragment of the dictionary entry.
SHORT , th, th; - zok, - zko, - zko, - zko.
1) Small in height, located at a low height from the ground, from some n. level.N. fence.
2) Not reaching the average level, less than the average rate, insignificant.Low prices.
3) Bad, unsatisfactory in terms of quality. N. grade.
4) Vile, dishonorable (contempt.).N. act.
5) Dense by ear.N. bass.
4. In one of the words below, a mistake was made in the formulation of stress: the letter denoting a stressed vowel sound is WRONGLY highlighted. Write this word down.
facilitate
vision
fruit
5. One of the sentences below uses the highlighted word WRONG. Correct the mistake and spell the word correctly.
All elements must form a single HARMONIOUS whole and correspond to your ideological plan.
He took a deep INHALATION and resolutely approached Gerasim.
The water was ICE, teeth ached from it, and it was swallowed with a ringing sound.
In the provinces, DEFLECTION from jury duty in the early years was negligible.
A TECHNICAL chess player must be able to play on two flanks.
6. In one of the words highlighted below, a mistake was made in the formation of the word form.Correct the mistake and spell the word correctly.
fixed more RELIABLE
old PASSPORTS
Lie on your back
saplings APPLE
pick up from the NURSERY
7. Establish a correspondence between grammatical errors and sentences in which they are allowed: for each position of the first column, select the corresponding position from the second column.
SUGGESTIONS
A) incorrect use of the case form of a noun with a preposition
B) violation in the construction of a complex sentence
C) incorrect construction of a sentence with an participial turnover
D) incorrect construction of a sentence with indirect speech
E) violation in the construction of a sentence with homogeneous members
1) Antipov annoyed the repair service with complaints about the material shipped to him to update the rail.
2) Standing on the threshold of the house, the parents watched the leaving children for a long time.
3) Upon arrival from Greece, I sat down to write new book.
4) In "Ruslan and Lyudmila" A.S. Pushkin conveyed much of what he had heard from his nanny Arina Rodionovna.
5) To get to Ryabtsev, who occupied an office on the fifth floor, Nastasya had to explain the purpose of her visit to a dozen security guards.
6) I was not accepted into basketball team schools. Because I was short.
7) When creating a project for a new building, the architect said that I want to make this building the most beautiful in the city.
8) Mistakes not only bring pain, but also make us wiser.
9) The war was a difficult test for the entire people, but everyone believed and hoped for victory.
8. Identify the word missing the unstressed verifiable vowel of the root. Write this word by inserting the missing letter.
hug..mother
pl..wchikha
illumination
see ... bother (with the circumstances)
bl .. growing
9. Determine the row in which the same letter is missing in both words. Write these words by inserting the missing letter.
and ... tries, in ... head (institution)
pr..could, pr..bereg
super..gra, ob..sk
pr.. grandfather, pr..peak
(I see) in..real, since..young
10. Write down the word in which the letter I is written at the place of the pass.
hours..nka
peck out
industry..voy
beggar ... nsky
cough ... cough
11. Write down the word in which the letter E is written at the place of the pass.
ove..ny
you have suffered ... you are
dozing ... you
outlined ...
12. Define a sentence in which NOT with a word is written LITTLE. Expand the parentheses and write out this word.
Winter is (NOT) GETTING angry, its time has passed ...
His home life, none of those around him (NOT) INTERESTING, went on as usual.
It was a month of (NOT) BLAZED by bad events of happiness.
My new friend was a (NOT) POOR man, but his stinginess discouraged me.
(NOT) WELCOMELY and cordially met Olga Stas, but coldly and aloof.
13. Define a sentence in which both highlighted words are spelled LITTLE. Expand the brackets and write out these two words.
(FOR) WHAT in separation from her, (FOR) BREAKING back with backbiting, the heart in us is ready to bleed to a drop ...
(IN) VISIBLE, the very principle from which this truth proceeds obliges you, (IN) THE SEE of your position in society, to recognize in it only an inner light.
(ON) AMONG the room (B) FOR 20 years there was the same table, covered with the same lace tablecloth.
I, for whatever reason, wanted to meet Sonya, tell her how I missed, how I suffered (IN) ALONE, not daring to confess my feelings to anyone.
The officer stood (ON) the EXTRACTOR, and the general, meanwhile, gave the order to the soldiers to line up in columns (ON) TWO.
14. Indicate all the numbers in the place of which НН is written.
Immediately I remembered a mirror all the way to the floor, immediately (1) about reflecting the second istaska (2) th and ditch (3) th Ball, antlers in height, countless (4) fur coats and galoshes.
15. Arrange the punctuation marks ... Indicate two sentences in which you need to putONE comma. Write down the numbers of these sentences.
1) In the distance, I heard the sound of a motor or the crunch of a falling tree.
2) Vasily Porfirych gave the children a microscopic piece of prosphora, got drunk tea and sat down in the study.
3) This was a gentleman, no longer young for years, prim and dignified with a careful and grumpy face.
4) For centuries, these trees have been related to us and gave our ancestors creaky sandals and a smokeless torch.
5) Darwin was distinguished for almost all his life by upset health and this did not prevent him from showing highest level intensity of mental work.
16. Arrange all punctuation marks:
A swimmer was brave (1) who decided on such a night (2) to set off across the strait at a distance of twenty miles (3) and there must be an important reason (4) that prompted him to do this.
17. Arrange any missing punctuation marks: specify the number (s), in the place of which (s) in the sentence should be a comma (s).
Talking to you (1) my dear (2) I (3) finally (4) came to one single thought: if we are (5) gentle (6) my friend (7) we cannot breathe without each other (8) however (9) the will of the parents hinders our well-being, can we not do without it?
18. Arrange all punctuation marks: specify the number (s), in the place of which (s) in the sentence should be a comma (s).
In Gorokhovaya Street, in one of the big houses (1) the population (2) of which (3) would be enough for a whole district town (4), Ilya Ilyich Oblomov lay in bed in his apartment in the morning.
19. Arrange all punctuation marks: specify the number (s), in the place of which (s) in the sentence should be a comma (s).
Yegorushka looked around (1) and did not understand (2) where this strange song came from (3) but (4) when he listened (5) it began to seem to him (6) that it was grass singing, complaining about the heat and drought.
20. Edit the sentence: correct the lexical error,eliminating unnecessary word. Write this word down.
It was useless to hide the true truth, and Serpilin did not even consider himself entitled to do this.
Read the text and complete assignments 21 - 26
(1) I recently received a letter in which a schoolgirl writes about her friend. (2) The teacher of literature invited this friend to write an essay about a very prominent Soviet writer. (3) And in this essay, the schoolgirl, paying tribute to both the genius of the writer and his importance in the history of literature, wrote that he had mistakes. (4) The teacher considered all this inappropriate and scolded her very much. (5) And now a friend of that schoolgirl turns to me with a question: is it possible to write about the mistakes of great people? (6) I answered her that it is not only possible, but also necessary to write about the mistakes of great people, that a person is great not because he was not mistaken in anything. (7) No one is free from mistakes in our life, in our difficult life.
(8) What is important to a person? (9) How to live life? (10) First of all - not to commit any acts that would lower his dignity. (11) You can not do very much in life, but if you do not do anything, even small, against your conscience, then by doing so you bring tremendous benefits. (12) Even in our everyday life, Everyday life... (13) But in life there can be difficult, bitter situations when a person is faced with the problem of choosing - to be dishonored in the eyes of others or in his own. (14) I am convinced that it is better to be dishonored before others than before your conscience. (15) A person should be able to sacrifice himself. (16) Of course, such a sacrifice is a heroic act. (17) But you need to go to it.
(18) When I say that a person should not go against his conscience, should not make a deal with it, I do not mean at all that a person cannot or should not make mistakes, stumble. (19) No one is free from mistakes in our difficult life. (20) However, a person who has stumbled faces a grave danger: he often comes to despair. (21) It begins to seem to him that everyone around is scoundrels, that everyone is lying and doing bad things. (22) Disappointment sets in, and disappointment, loss of faith in people, in decency is the worst thing.
(23) Yes, they say: "Take care of honor from a young age." (24) But even if it was not possible to preserve honor from a young age, it must and can be returned to oneself in adulthood, to break oneself, to find the courage and courage in oneself to admit mistakes.
(25) I know a person who is now admired by everyone, who is very much appreciated, whom I also loved in the last years of his life. (26) Meanwhile, in his youth, he committed a bad deed, a very bad one. (27) And then he told me about this act. (28) He confessed himself. (29) Later we sailed with him on a motor ship, and he said, leaning on the deck rail: "But I thought that you would not talk to me." (30) I did not even understand what he was talking about: my attitude towards him changed much earlier than he confessed to the sins of his youth. (31) I myself already understood that he did not realize much of what he was doing ...
(32) The road to repentance can be long and difficult. (33) But how does the courage to admit one's guilt decorate - it adorns both a person and society.
(34) Anxieties of conscience ... (35) They prompt, teach; they help not to violate ethical norms, to preserve the dignity - the dignity of a morally living person.
(according to D.S.Likhachev *)
* Dmitry Sergeevich Likhachev (1906-1999) - Soviet and Russian philologist, culturologist, art critic, academician of the Russian Academy of Sciences.
21. Which of the statements correspond to the content of the text? Enter the answer numbers.
1) Likhachev writes that a schoolgirl, his student, turned to him with a question.
2) In the text, concepts such as "honor" and "conscience" are very closely related to each other.
3) Sacrificing yourself is a heroic act, and you need to think very carefully before going on it.
4) When a person is out of tune with his conscience, it seems to him that everyone around is lying and doing bad things.
5) A friend of the hero-narrator confessed to him that he had made mistakes on the ship.
22. Which of the following statements arefaithful ? Enter the answer numbers.
Indicate the numbers in ascending order.
1) Propositions 13-14 present the reasoning.
2) Sentence 21 explains, discloses the content of sentence 20.
3) Proposition 24 contains a conclusion, a consequence of what is said in proposal 23.
4) Propositions 26-28 contain reasoning.
5) Sentences 34–35 provide a description.
23. From sentences 18-22, write out a phraseological unit with the meaning "to mean someone, something."
24. Among sentences 1–7, find the one (s) that is (s) related to the previous one using the compositional conjunction, demonstrative pronoun and word forms.
25. “Techniques of expressiveness in the works of D.S. Likhachev play a special role: they clarify the author's idea, concretize the details, and place the necessary logical accents. In the presented text, among such techniques one can single out (A) _______ (sentences 11–12) and (B) ________ (in sentences 23, 29). A feature of D.S. Likhachev is also such a technique as (B) ________ ("in our life" in sentence 7). Among the few tropes, it is worth highlighting (D) _______ ("bitter situations" in sentence 13 ".
List of terms:
1) epithets
2) antonyms
3) parceling
4) colloquial words
5) rows of homogeneous members of the sentence
6) quoting
7) lexical repetition
8) metonymy
9) assonance
26. Write an essay based on the text you read.
Formulate one of the problems posed by the author of the text.
Please comment on the formulated problem. Include in your comment two illustrative examples from the text you read that you think are important to understanding the problem in the original text (avoid overquoting).
Formulate the position of the author (narrator). Write whether you agree or disagree with the point of view of the author of the read text. Explain why. Argue your opinion, relying primarily on the reader's experience, as well as on knowledge and life observations (the first two arguments are taken into account).
The length of the essay is at least 150 words.
Option 4
1. Answer: 14 | 41.
2. Answer: however.
3. Answer: 2.
4. The answer is to bear fruit.
5. The answer is evasion.
6. Answer: reliable.
7. Answer: 26579
8. Answer: accept
9. Answer: frankly angry
10. Answer: to paste
11. Answer: dozing
12. Answer: not without reason
13. Answer: why in spite of
14. Answer: 124.
15. Answer: 25
16. Answer: 12578
18. Answer: 14.
19. Answer: 2356.
20. Answer: true.
21. Answer: 24
22. Answer: 12.
23. Answer: 3
25. Answer: 3671
1. In our complex life, no one is free from mistakes. Making mistakes, being aware of them is a natural process
2. The problem of the relationship between the greatness of a person and the mistakes that he made. The problem of publicizing the mistakes of great people. (Can the greatness of a person consist in the fact that he was not mistaken in anything? Is the concept of "greatness" related to the mistakes that a person makes? Can we talk about the mistakes of great people or should it be hidden?)
2. The greatness of man does not lie in the fact that he did not make any mistakes. Therefore, one can and should talk about the mistakes of great people.
3. The problem of the role of conscience in human life. (What is the role of conscience in a person's life? Does life "by conscience" protect against mistakes? Does life "by conscience" bring benefits?)
3. Living "according to conscience" does not protect against mistakes, but conscience is what prompts, teaches, helps not to violate ethical norms, to preserve the dignity of a morally living person. Even if a person did not do much in life, but lived in harmony with his conscience, he has already brought significant benefits.
4. The problem of choosing landmarks on the path of life. (How should a person live his life? What is important for him to focus on first of all?)
4. A person should not commit any actions that would lower his dignity. You don't have to go against your conscience. Therefore, the main guideline should be one's own conscience.
5. The problem of choice: to be dishonored in the eyes of others - or in our own. (Which is better: to be dishonored in the eyes of others or to lose honor and dignity in your own eyes?)
5. It is better to be dishonored before other people than before your conscience. Of course, dishonor in the eyes of others is a great sacrifice, but it must be made ..
6. The problem of honor. (Is it possible, having committed a bad, dishonorable act in youth, to regain honor in adulthood?)
6. If you failed to preserve honor from a young age, it can and should be returned to yourself in adulthood.
7. The problem of remorse. (Do you need to repent of the mistakes you have made?)
7. Despite the fact that the path to repentance can be long and difficult, since it is very difficult to admit your mistakes, it is very useful, it beautifies a person, because repentance is a manifestation of courage
8. The problem of the consequences of mistakes. (What dangers await a person who makes a mistake? What is one of the most dire consequences of a mistake?)
8. A person who has made a mistake can become desperate. Then there may be disappointment, loss of faith in people, in decency, and this is the worst thing.
* To formulate the problem, the examinees may use vocabulary that differs from the one presented in the table. The issue can also be cited from the source text, or indicated by references to sentence numbers