Kua designs: Face Masks by Kua Designs – africaboutik

Designer Spotlight: Kua Designs -Munaluchi Bride

Today we’re introducing a regular feature on the blog called “Designer Spotlight”– where we highlight designs from an up-and-coming, or already established designer.  Our featured Designer for this week is Ruby Buah of Kua Designs.  We featured one of her necklaces and a clutch from her previous collection in the current  (Spring/Summer 2010) issue of Munaluchi and we’ve gotten such a great response from it.  Ruby has been busy promoting her latest collection which I must say is nothing less than FABULOUS.  Not only are the necklaces to DIE for, but the new oversized fan purses are a gem.   The spokesmodel, Akua Abeasi happens to be one of our own! (She’s the Associate Editor for Munaluchi Bridal and runs a really cute blog called Hot Spot with AJ.)  And it doesn’t hurt to have such a BEAUTY modeling the pieces.  Clean and simple, yet chic and trendy is how we describe this collection. Get a fresh and upclose view of some of our favs.

MEET THE DESIGNER

Ruby Buah actually comes from a background in Finance. Actually, she left her prestigious position as a Financial Analyst at Coca Cola to pursue her passion for Fashion.  ‘Kua’ has a dual meaning: It’s Ruby’s mother’s name and also means “Keeping us Authentic”.  The name is most appropriate for the collection, as it actually does incorporate authentic gemstones and original African fabrics straight from Ghana, her home country.  Currently, she is in New York studying design at the prestigious Fashion Institute of Technology and parlaying her experience in finance into running her business.

We absolutely ADORE the current and previous Kua Designs and can’t wait to see what’s in store for 2011.  Be certain to “Like” her page on Facebook and also, follow her on Twitter.

Thanks so much Ruby for sharing your collection with us!

Check out more from this collection!

[nggallery id=51]

In the Atlanta area?  Kua Designs will be hosting a Shop & Mingle event on Friday November 26, 2010 at Trendz Hair Studio & Spa.  Click the image below to RSVP.

A’ Design Award and Competition


 

The primary aim of the award is to create publicity, PR push and advertisement opportunities for design award winners while supporting the global design culture, creating incentives for entrants to come up with superior designs for a better future. A’ Design Awards is a premier annual juried design competition that honors the best designers, architects, engineers, design studios, brands and design oriented companies worldwide to provide them publicity, fame and recognition.

A’ Design Award and Competitions are organized and awarded annually and internationally in a wide range of categories.







Every year, projects that focus on innovation, technology, design and creativity are awarded with the A’ Award. While realized projects find opportunities to get published, reach new markets and meet a wide range of buyers for their existing products, the organization also helps the creative minds and startups to meet with the business people to realize their product ideas.

The A’ Design Award and Competition has a very well developed methodology for choosing the best designs using rigorous evaluative criteria, blind judging processes, score normalization, cross matching and more, to reward only the best designers and firms that truly deserve special recognition. The Jury of the A’ Design award is composed of Academics, Professionals, Enterprise and Focus Group members and follow strict guidelines to provide a fair and ethical evaluation.

The A’ Design Award & Competition logo, awarded by international experts, is trusted worldwide and denotes solidly proven design quality. Companies and design studios use their A’ Design Award victory as a visible symbol in their communication. For potential clients, the A’ Design Award winner logo is a guideline for finding the best designs and creative services within the marketplace. Learn about the benefits here.

Participating in the A’ Design Award & Competition demonstrates the will to innovate, redesign, rethink and the courage to compare yourself to others in competition. The purpose of A’ Design Award is to highlight, advertise & advocate good design, and to provide its’ winners extensive and intensive publicity, fame and prestige.



Kua Bay Residence on Kona, Hawaii

Kua Bay Residence, Kona Property Photos, Central Pacific Luxury House, Residential Architecture

Aug 18, 2021

Design: Walker Warner Architects in collaboration with NICOLEHOLLIS (interiors) and Lutsko Associates (landscape)

Location: Kona, Hawaii, Central Pacific, United States of America

Photos by Douglas Friedman unless noted otherwise

Kua Bay Residence on Kona, Hawaii

Situated along a rugged stretch of coastline, the family retreat embraces the spirit of Mauka-Makai—the symbolic flow of lava from mountain to sea—through its direct connections to the volcanic landscape and dramatic vistas of the Pacific Ocean. Kua Bay Residence’s site captures the stark contrasts between land and sea in the Hawaiian topography.

On the mountain side of the property, dark lava formations create a dramatic backdrop. On the ocean side, the immediate adjacency to the turquoise oceanfront makes you feel as if you are standing on the edge of the earth. The challenge was to manipulate the site so that the buildings would blend with the landscape while providing a graceful and multi-layered experience from mountain to sea.

The private driveway on the mountain side of the property cuts into existing 15-foot-high lava rock formations, shielding the property from surrounding neighbors and reducing its visual impact from the roadway. Descending into the autocourt, the garage and guest hale structures are embedded into the natural lava topography. The living roof, renaturalized with lava rock and native grasses further emphasizes the buildings direct relationship with the site.

Decorative corten steel panels screen the autocourt from the rest of the property and direct guests toward the courtyard and ocean views beyond. This entry sequence provides a transitional experience from the sunken autocourt surrounded by lava, stepping up on axis to the elevated courtyard and dramatic reveal of the oceanic panorama at the main hale, augmenting the sensation of vast openness that initially drew the clients to the site.

Blending the line between inside and outside, the courtyard is framed by a raised tree bosquet and lava outcrops mirrored by a series of reflecting ponds. The courtyard serves as a private gathering space shielded from trade winds where guests can take in and appreciate the views of the mountains and the sea.

The main hale seamlessly frames the ocean views with expansive floor-to-ceiling pocketing glass doors. A separate system of pocketing wood screens is designed to soften the sunlight without compromising the views.

Materials—including basalt, Alaska Yellow Cedar and steel—are simple, tailored and unadorned, and used for both interior and exterior surfaces. Furnishings are casual, favoring lightly-colored sofas and chairs that act as a counterpoint to the dark lava and basalt. An ocean facing lanai descends to an infinity- edge pool with intimate outdoor gathering spaces.

The guest hale on the mountain side of the property places an emphasis on the natural beauty of the layered lava formations. To create a sense of seclusion and privacy, decorative corten pickets enclose a furnished entry courtyard, while the living roof helps the building discreetly blend into the rugged landscape.

As you enter the guest bedroom suites, the focal point of the experience becomes a striking outdoor lava grotto space, deliberately pulled away from the building to create a sophisticated and moody private outdoor terrace where guests can admire the beauty of the natural lava and bathe in privacy.

Contemporary Kona luxury house design – Building Information

Project Team
Architecture: Walker Warner Architects
Interiors: NICOLEHOLLIS
Landscape: Lutsko Associates
Builder: Ledson Construction
Structural: GFDS Engineers

Greg Warner said:
“My favorite part of the project,” notes Warner, “is the composition of the three buildings and the spatial presence of the courtyard.”

“While most people want to elevate to get a view,” notes Warner, “we actually dug down to embed the building. You don’t see the house next door because you’re below it. You are kind of in your own world here.”

Nicole Hollis added:
“The goal,” notes Hollis, “was a house so versatile you could sit around in a wet bathing suit and later attend an elegant chef-prepared dinner — in the same room.”

“Getting low lighting in a space with very high ceiling heights is tricky and can sometimes cause unwanted shadows or hot spots,” notes Hollis. “Lamps provide a soft glow and direct light on the surface itself.”

photograph : Marion Brenner

Photography: Douglas Friedman, Laure Joliet, Marion Brenner

Kua Bay Residence on Kona, Hawaii images / information received 170821 from Walker Warner Architects

Location: The Big Island, Hawaii, Central Pacific, USA

New Hawaii Buildings

Contemporary Hawaii Architectural Projects

Hawaii Architecture Designs – chronological list

Another Kona home on e-architect:

New Residence in Hawaii
Design: Belzberg Architects

photograph : Benny Chan (Fotoworks), Belzberg Architects
Kona Residence

Hawaii Buildings

Recent Hawaii houses on e-architect:

Kohala Coast Residence, The Big Island
Design: de Reus Architects

photo : Matthew Millman
Kohala Coast Residence, Big Island

Wai’olu Residence, North Kohala Coast
Design: de Reus Architects

photo : Joe Fletcher
Wai’olu Residence, North Kohala Coast

Hale Mau’u, The Big Island
Design: Walker Warner Architects

photograph : Matthew Millman
Hale Mau’u, The Big Island

Kauhale Kai, The Big Island

Makani’ Eka, The Big Island

Kalihiwai Pavilion, Kauai

Waterfalling Estate Hawaii Residence

Clifftop House Maui
Design: dekleva gregorič arhitekti

photo © Cristobal Palma
Contemporary House in Hawaii

US Architectural Designs

American Houses

American Architecture

American Architect

New Houses

Comments for the Kua Bay Residence on Kona, Hawaii design by Walker Warner Architects page welcome

Find Your Personal Lucky Colors and Directions – Sound Feng Shui

Sound Feng Shui’s designs are based on Feng Shui elements corresponding to certain colors. Knowing what your best colors and elements are can help you strategize your wardrobe for success!

Find your birth date and gender in the table below, then visit the Kua Number page associated with it to get details on your personal Feng Shui.

Kua number pages:
Kua Number 1 | Kua Number 2 | Kua Number 3 | Kua Number 4 | Kua Number 5 Male
Kua Number 5 Female | Kua Number 6 | Kua Number 7 | Kua Number 8 | Kua Number 9

FENG SHUI KUA NUMBER CHART




























BIRTH YEAR

MALE KUA

FEMALE KUA

1925

3

3

1926

2

4

1927

1

5

1928

9

6

1929

8

7

1930

7

8

1931

6

9

1932

5

1

1933

4

2

1934

3

3

1935

2

4

1936

1

5

1937

9

6

1938

8

7

1939

7

8

1940

6

9

1941

5

1

1942

4

2

1943

3

3

1944

2

4

1945

1

5

1946

9

6

1947

8

7

1948

7

8

1949

6

9

1950

5

1































BIRTH YEAR

MALE KUA

FEMALE KUA

1951

4

2

1952

3

3

1953

2

4

1954

1

5

1955

9

6

1956

8

7

1957

7

8

1958

6

9

1959

5

1

1960

4

2

1961

3

3

1962

2

4

1963

1

5

1964

9

6

1965

8

7

1966

7

8

1967

6

9

1968

5

1

1969

4

2

1970

3

3

1971

2

4

1972

1

5

1973

9

6

1974

8

7

1975

7

8

1976

6

9

1977

5

1

1978

4

2

1979

3

3






















BIRTH YEAR

MALE KUA

FEMALE KUA

1980

2

4

1981

1

5

1982

9

6

1983

8

7

1984

7

8

1985

6

9

1986

5

1

1987

4

2

1988

3

3

1989

2

4

1990

1

5

1991

9

6

1992

8

7

1993

7

8

1994

6

9

1995

5

1

1996

4

2

1997

3

3

1998

2

4

1999

1

5






















BIRTH YEAR

MALE KUA

FEMALE KUA

2000

9

6

2001

8

7

2002

7

8

2003

6

9

2004

5

1

2005

4

2

2006

3

3

2007

2

4

2008

1

5

2009

9

6

2010

8

7

2011

7

8

2012

6

9

2013

5

1

2014

4

2

2015

3

3

2016

2

4

2017

1

5

2018

9

6

2019

8

7

kuasi (kua) / zwell designs » zach wellstood’s portfolio

Our consultant writes Kua sentences as we elicit them. Kua has no standard orthography, so this is a creative act.

Enthusiastic discussions about focus constructions during elicitation.

Kuasi is a Central Khoisan language in the Tshwa subgroup (Vossen, 2013), related to Gǀui, G||ana, Tsua, Cua, and Tshila (Collins and Chebanne, 2016), most of which have very little documentation available. Historically, the Kua people lived in the Central Kalahari Game Reserve, but in the 1990s and early 2000s, were forced to migrate onto settlements (reservations) outside of their ancestral lands.

The name Kuasi comes from the word kúā, which means ‘person’ and sì, a feminine singular person-number-gender (PGN) marker (Collins and Chebanne 2016). When used as a feminine noun, kúā ‘person’ becomes ‘the language of the Kua,’ as in the following example from Collins and Chebanne (2016:7):

  • cé kwà kúā sàʔà qχ’úī.
    1SS PROG Kua 3FSO speak
    ‘I speak the language of the Kua.’
    (Collins and Chebanne, 2016:7, ex. 1b)

Kuasi, like other Central Khoisan languages, has a rich pronominal system. Consider that Standard English has 23 personal pronouns (I, me, my, you, she, her, etc.) , whereas Kuasi has 86 (Collins and Chebanne, 2016:24-31). Kuasi has a similarly impressive system of 24 person-gender-number markers whose sole purpose is to disambiguate the person, gender, and number of nouns (Collins and Chebanne, 2016:16-23). Kuasi, having undergone click replacement, has a somewhat reduced click inventory in comparison to a language like N!aq. Apart from this, other notable features of Kuasi include a complex juncture morpheme in serial verb constructions, a nominal linker, and derivational tone sandhi.

In Setswana, the speakers of Kuasi are called Basarwa. A number of exonyms have emerged to refer to speakers of the “click languages.” Basarwa is a Setswana word used within Botswana to refer to speakers of these languages very broadly. Bakua refers specifically to the speakers of Kua. Bushmen is considered derogatory by some due to its history. San (or Saan) is in common use to describe the hunter-gatherer speakers of the click languages throughout southern Africa.

The social history of the San (including the Bakua) has been changing over time, especially due to contacts with colonizers and neighboring cattle-herding ethnic groups. The San are now adopting the lifestyle of their neighbors. Unfortunately this cultural shift is accompanied by language loss. The the social history and current circumstances of the San bear many likenesses to those of other indigenous peoples around the world.

Ethnologue lists the status of Kua as 6a, vigorous. However, in the absence of sociolinguistic surveys, it is unclear what the exact status of the language is and it should be assumed to be threatened.

Documentation

As an RA in 2016, I helped enter his transcribed oral texts into a FLEx project for Kuasi. We then glossed these texts fully. I also helped copy edit A Grammatical Sketch of Kuasi.

Phrases

  • tsa ma ka ǂxai?
    You’re awake! (said as a morning greeting)
  • ce kwa ǂxai!
    I’m awake! (said in response to the morning greeting)
  • e ka |oo.
    That’s all. (It’s finished.)

Resources

Literature

  • Chebanne, Andy. 2002. Shifting identities in Eastern Khoe: ethnic and language endangerment. Pula: Botswana Journal of African Studies 16(2).
  • Chebanne, Andy. 2008. A Sociolinguistic Perspective of the Indigenous Communities of Botswana. African Study Monographs, 29(3): 93-118.
  • Chebanne, Andy. 2011. The Role of Dictionaries in the Documentation and Codification of African Languages: The Case of Khoisan. Lexikos 20 (AFRILEX-reeks/series 20: 2010): 92-108.
  • Chebanne, Andy. 2016. Writing Khoisan: harmonized orthographies for development of under-researched and marginalized languages: the case of Cua, Kua, and Tsua dialect continuum of Botswana. Language Policy 15(3): 277–297.
  • Chebanne, Andy and Eric Glon. 2017. The San of the “Central Kalahari Game Reserve”: Can nature be protected without the indigenous San of Botswana? Pula: Botswana Journal of African Studies.
  • Chebanne, Andy and Mawande Dlali. 2017. Tsua lexical borrowing from Setswana. South African Journal of African Languages 37(1).
  • Collins, Chris and Andy Chebannne. 2016. A Grammatical Sketch of Kuasi. Ms., New York University and the University of Botswana.
  • Kamusella, Tomasz and Finex Ndhlovu. 2018. The Social and Political History of Southern Africa’s Languages. London: Palgrave Macmillan UK.
  • Lekoko, R.N. & Chebanne, Andy & Bolaane, Maitseo & Matlhongwane, T. 2015. Visible barriers to economic empowerment: Lessons from san wood carvers of Botswana. 166-179. ResearchGate Online.
  • Mathes, Tim. 2015. Consonant-tone interaction in the Khoisan language Tsua. PhD Dissertation, New York University.
  • Nakagawa, Hirosi. 1996. An Outline of G|ui Phonology. African Study Monographs, Suppl. 22: 101 – 124.
  • Nakagawa, Hirosi. 2013. A First Report on G|ui Ideophones. Geographical Typology and Linguistic Areas, Tokyo University of Foreign Studies, 2.

OUR TEAM — GEOFFREY LEWIS ARCHITECT, INC.

EMPLOYMENT

PRINCIPAL:
Geoffrey Lewis Architect, Inc. (Honolulu, HI)
Full service architectural firm, including residential planned community development, individual & multifamily residential master planning and house design, new and remodeled single family residential housing, commercial design, retail design, assisted living facilities and mausoleum, columbarium and chapel design. We are a fully integrated computer technology firm, including all documentation, 3D renderings and presentations. – November, 1997 to present

AIA PRESIDENT:
American Institute of Architects, Honolulu Chapter – 2018 to 2019

AIA VICE PRESIDENT:
American Institute of Architects, Honolulu Chapter – 2017 to 2018

SCHOOL OF ARCHITECTURE ADVISORY COUNCIL:
University of Hawaii School of Architecture (Honolulu, HI) – May, 2012 to present

DARCH THESIS COMMITTEE MEMBER:
University of Hawaii School of Architecture (Honolulu, HI) – May, 2008 to present

ARCHITECTURE INSTRUCTOR:
University of Hawaii School of Architecture (Honolulu, HI)
Teaching 400/500 level architectural design classes. – May, 2005 to 2013

FURNITURE DESIGNER & CRAFTSMAN:
Design and built custom furniture. – August, 1988 to present

BOARD OF DIRECTORS:
American Institute of Architects, Honolulu Chapter – May, 2005 to 2008

BOARD OF DIRECTORS:
Mission Houses Museum – April, 2000 to 2005

KAHALA KUA DESIGN REVIEW COMMITTEE:
Review all single family dwelling submittals for compliance with the subdivision rules and regulations – January, 1997 to present

ASSOCIATE, PROJECT ARCHITECT:
Design Partners Incorporated (Honolulu, HI)
Responsible for all architectural phases with extensive work in site planning and housing product development for Royal Kunia, Mililani Mauka and Maui Lani. Other projects include high end custom housing, hotel design and educational facilities for the State of Hawaii (Makawao Intermediate School Library and Windward Community College — Humanities Building and theater). – June, 1992 to November, 1997

PROJECT MANAGER:
John Hara Associates (Honolulu, HI)
Schematic design, design development and construction documentation (specifications and drawings). Projects included high-end residential, theater design (Maui Arts & Cultural Center) and educational facilities for Punahou School (Wo International Center). – June, 1990 to May, 1992

UNIVERSITY INSTRUCTOR:
Southern California Institute of Architecture (Santa Monica, CA)
‘Professional Practice 1’: Introduction to Type V construction, the building code, drafting and presentation skills, construction documents, detailing, methods of construction. – August, 1989 to May, 1990

PROJECT MANAGER:
Michael Mekeel Architect (Hollywood, CA)
Schematic design, design development and construction documentation (specifications and drawings), client and consultant responsibilities. Projects included high-end residential, small commercial and the Museum for the Academy of Motion Pictures. –June, 1989 to May, 1990

DRAFT PERSON:
Gruen and Associates (Los Angeles, CA)
Drafting, shop drawing review, detail designing and project correspondence. – April, 1988 to September, 1988

DRAFT PERSON:
Matlin & Dvoretsky AIA (Santa Monica, CA)
Drafting, marketing preparation. – January, 1987 to May, 1987

CARPENTER:
Mokihana Builders (Honolulu, HI)
Custom home construction including masonry work, rough carpentry and finish carpentry. – May, 1983 to August, 1986

EDUCATION

Southern California Institute of Architecture (SCI-Arc),
Santa Monica, CA., Bachelor of Architecture, 1989

Arizona State University – pre-architecture
Tempe, AZ – September, 1983 to May, 1985

Deerfield Academy – preparatory school
Deerfield, MA – September, 1982 to May, 1983

Punahou School
Honolulu, HI – September, 1968 to May, 1982

HONORS & ACTIVITIES

Best Undergraduate Thesis Project award
Top Honors: Acoustics, Materials of Construction 1 & 2 Professional Practice 1 & 2, Structures 1, 2 & 3, Woodworking 2 & 3, Japanese Watercolor & L.A. River (theory).
Teaching Assistant: Professional Practice 1 and Materials of Construction 1 & 2

PERSONAL

Born and raised in Honolulu, Hawai’i
Member of the Rotary Club of Honolulu, Hawaii Steel Alliance. Extensive travel through the United States, Europe, the Middle East, the Orient and the South Pacific.

feng shui kitchen design | The Kitchen Showcase

During November, we have dedicated our blog to show people how to get started in the mystic world of Feng shui as we learn easy tips on how to apply this Asian knowledge and technique when designing your new kitchen.
Feng shui is an ancient art and science developed over 3,000 years ago in China, it is based on the Taoist vision and understanding of nature, particularly on the idea that the land is alive and filled with Chi, or energy.
Feng means wind and Shui means water. In Chinese culture wind and water are associated. Last week, we discussed Feng Shui principles and meaning, and different techniques that will help you arrange your Kitchen or any other space in your home in a healthy way.
On our last post we discussed how to choose the color of your Feng Shui Kitchen and everything else in Feng shui, is determined by the Kitchen’s location.
Last week, we went over the south, southwest, west and northwest locations and which color could be applied in order to balance the kitchen’s energy. Today, we are going to discuss, the 4 locations left.

North Area Kitchen

Feng shui bagua area: Career & Path in Life
Western bagua location: lower center
It is important to balance your kitchen’s water element and keep it happy when it is in the North area. In these cases, blue, black, gray and white, work well on it. Nonetheless, you need to keep the fire element of the kitchen strong, so avoid abusing of these colors.
Black kitchen colors can be used to attract power to your home, which can be associated with wealth. Blue kitchen colors work well with brown and green tones in modern wallpaper patterns, wall tile and painting, attracting peaceful and pleasant changes.
Try to find a good visual balance between Water and Fire colors with the emphasis being on blue, black, gray and white colors. The metal element is usually an excellent balancing point for a North area kitchen in both it’s colors – white and gray.

Northeast Area Kitchen

Feng shui bagua area: Spiritual Growth & Cultivation
Western bagua location: lower left
Kitchens in the Northeast area share the same Earth element as a kitchen in the Southeast area, therefore, they are easy to work with. Remember you can use strong reds and yellows. So, feel free to have as many intense colors as you want. Also, bring an abundance of Earth element decor and colors; avoid the color black.

East Area Kitchen

Feng shui bagua area: Health & Family
Western bagua location: mid left
In this area, is important not to abuse element of metal or fire. Otherwise, they might damage the energy from Wood element  of this bagua area. Try to focus on the Earth feng shui element. Brown and green kitchen color shades and combinations are symbols of health and vitality.
Natural wood kitchen cabinets, dining furniture and decorating accessories, combined with green curtains, upholstery fabric, towels or utensils, attract abundance, wealth and prosperity. Choose soft and earthy greens to help create a relaxing space. A living plant or two can enhance these earthy tones.
Avoid too much black, blue, as well as white and gray colors.

Southeast Area Kitchen

Feng shui bagua area: Wealth & Money
Western bagua location: top left
A Southeast area kitchen requires the same attention as the one in the East as they both share the same element – Wood. So, feel free to use as much Wood element decor and colors as you wish.
The element of Earth brings stability with comfortable brown kitchen colors, natural wood tones of kitchen cabinets and dining furniture, golden, beige and pleasant yellow wallpaper patterns, wall tiles or paint colors.
Displaying plants, fruit and vegetables, as well as fresh herbs or flowers are excellent ways to boost the earth energy and attract abundance and wealth.
These four plus the other four locations from our previous post, are all the possible locations you can place your kitchen and the colors you can apply to balance its energy.
So far, we already know where to place our kitchen, where it should be facing, as well as how to calculate your Kua number, and how to select the correct color to balance its energy.
On our following post, we will discuss which appliances your kitchen should have and where to place them, to keep well-balanced your feng shui kitchen.

Yandex.Praktikum – online education service from Yandex

Hello everyone reading the review 🙂 I’ll start from afar. I have been interested in programming for a long time, but never got hung up on it. I tried different things, I lost interest, tried something else. Once I even made a game in Unity (C #). But it never turned into something more or less serious.

And at the same time, I began to realize that I had fallen into, as I called it, “the trap of a little above average work.” Great salary, great team and leadership, but absolutely no prospects.Years passed, prices and needs gradually increased, and the salary gradually began to turn from excellent into “well, in general, very good”, then into simply “good” …

And then I came across an advertisement for Yandex.Practicum on Instagram 🙂 What called, the ad hit the mark. Taking into account the background and my reflections, having doubted for a week, I decided and paid for the course.

What can I say about the course. I really liked the presentation of the material. It goes sequentially, everything is explained very easily, and almost nothing superfluous.Do you need any knowledge to pass it? Not likely … If you even play games on your computer, you shouldn’t have any problems. In addition, if difficulties arise, you can always write a question in the chat or to the mentor in a personal.

The team of students was very different, it was even funny. Someone had programming experience, and someone, in my opinion, did not even turn on the computer every month. Nevertheless, everyone tried and helped each other.

At the end of the course, a chat was created with employment assistance.Although it was almost not useful to me, I got acquainted with the information from that chat, learned a lot of useful things.

Were there any downsides? Were. There are few of them and I would not call them critical.

– In some places the material seemed a little light to me (but at the same time I saw people in the chat for whom it was very difficult, so apparently everything is in order with the complexity).

– Some materials were still superfluous. For example, the simulator had a fairly large block of material on fonts. Em, rem, and stuff like that. Thinking that this is the right way, I spent the whole day reworking the font sizes from pixels to “em”, and the reviewer simply wrapped up the work, saying that he could not check the layout, because of the fonts everything was skewed.Then the whole day I reworked it back into pixels. And I was not alone, I saw a question in the chat about it 🙂

-To much attention to the webpack. It is a great tool, powerful and useful, but it took us a lot of tweaking. My opinion is that if I come to the company, there will be my own build. For personal use, you can find something simpler. Or find preset settings.

In general, the webpack is a small problem – although it was difficult, after painfully coping with the configuration, I later used my build almost unchanged and it was really convenient.

-Small bugs in the simulator. They resented many students, but we were only the third stream. It happened that a proposal from one of the students was implemented literally within a week, it’s cool.

So, the verdict.

Is it worth learning? Yes, definitely. The likelihood of changing your profession is very high.

Will it be interesting? Oh yes, I think you’ll like it. And I personally really liked the layout and programming in JS (programming more).

9 months ago I could not even imagine that I would create my own news mini-service, with a backend, authorization, saving news and a personal account.

Will it be difficult? Oh yes 🙂 In some moments I had a stupor and I was seriously thinking about academic leave (spoiler – JS on classes and webpack).

But nothing insurmountable. In the JS block, we were divided into smaller chats, where there was closer interaction with mentors – experienced programmers who always helped and suggested what the problem was.

Special thanks to JS mentor Vladislav and community manager Vara 🙂 They always answered quickly and helped.

Design of cafes and restaurants – ideas for interiors of different styles

People come to a restaurant not only for delicious food, but also for a cozy atmosphere – it is important to create a unique atmosphere in your cafe.

The decor reflects the values ​​of the establishment and attracts visitors with similar views on food, therefore, when preparing a restaurant interior design project, first of all, start from the concept of the establishment. In this article, we share awesome ideas for cafe design – a variety of themes and cuisine.

Loft-style cafe

A lot of air and space is the basis of this concept, so for such a project it is better to find a large room with high ceilings. Bright locations with panoramic windows without curtains and curtains are perfect.

The obligatory elements of the interior of a loft-style cafe are industrial motives: open brickwork, deliberately carelessly applied plaster, unpretentious but comfortable furniture and a ventilation system installed directly under the ceiling of the hall, nothing hidden from the eyes.All this, combined with brutal metal lamps and unusual decorations, creates a feeling of simplicity and freedom, which many people lack so much in the noise of large cities.

The interior of a cafe in the “loft” style will turn out to be modern and fashionable if you add brutal shelves with books and figurines, massive furniture to it. A bright detail can be a fireplace in a futuristic style.

An undoubted advantage of the design of a loft-style restaurant is the lack of reference to any cuisine in the world, you can serve your guests even burgers and fries, or even oysters on ice.

Italian Restaurant

Summer colors will help to convey the atmosphere of sunny Italy. Choose beige, blue, olive and green shades – those associated with the sea, warmth, the beach and a blooming garden.

Find simple yet elegant wooden tables and decorate with cotton tablecloths. Wicker lampshades will also perfectly fit into the interior of an Italian restaurant. Bottles of wine and olive oil in wicker baskets, paintings and photographs of views of Italy will give guests a sense of comfort.The Italian style implies a lot of living plants in the interior of the restaurant – these can be spray roses, hydrangeas, jasmine.

An open kitchen with a large wood-burning stove will show guests that you are preparing pizza and lasagna responsibly and with care.

If the space allows, then the ideal solution would be a summer veranda with flowers and wicker furniture. You can also fence the tables from each other with lattices entwined with vines – visitors will be able to retire, while always being surrounded by living plants.

Georgian Restaurant

The interior of a Georgian restaurant is usually simple and discreet, because the main thing for the Caucasian peoples is cordiality, hospitality and delicious food. Dark tones are suitable for design: burgundy, terracotta in combination with beige, sand. The walls can be decorated with bright carpets, paintings of Georgian landscapes or graffiti painted by the artist depicting mountains.

The design of the Georgian restaurant will be perfectly complemented by wine decanters, sabers, inscriptions in Georgian, similar to a fancy ligature. Also use vines, pomegranates, peaches, apricots as a decorative element.

Khinkali and khachapuri can be taken out on wooden stands instead of plates – this will make it more authentic.

If space permits, an unusual design element can be installed in the hall, for example, a small fountain in the shape of a jug of wine. Visitors will take pictures with him, upload pictures to Instagram and geolocate your establishment!

The best Georgian restaurants in Moscow

Overview of Georgian cafes and restaurants in Moscow with the most delicious dishes and beautiful interior.Top of the best Georgian restaurants according to the results of the Bash-Today survey.

Japanese Restaurant

The Japanese people are characterized by minimalism, restraint and clarity in details. You can use this as a base for a Japanese restaurant interior. Usually, the design is dominated by gray, beige, cream colors. A combination of dark and light (yin and yang) is possible: for example, white walls and black furniture. Unpretentious, functional furniture without patterns is suitable for the design of a Japanese restaurant.

It is advisable to leave more free space in the room, fill it with light and air. To give guests a sense of privacy, make sliding paper screens between tables. Let the rice paper lamps emit a soft light. The tree will also look great in the interior of a Japanese restaurant.

For decoration use bamboo, ikebana and bonsai – cute bonsai. Walls can be decorated with Japanese characters and cherry blossoms.

Oriental style restaurant

The design of an oriental restaurant is inconceivable without large soft carpets – in the East they have long been used to decorate both floors and walls.

Low-rise carved furniture, voluminous satin pillows with gold tassels will give guests a feeling of comfort. Choose large and soft sofas and armchairs – chairs will definitely be superfluous in the interior of an oriental restaurant.

Translucent curtains can be used to divide the space into zones.For windows, choose luxurious curtains made of heavy fabric – it is desirable that the color in the room is a little muted.

Decorations made of copper and ceramics, souvenir hookahs, painted plates on stands can become decorative elements. Let the Arabic musical motives sound in the institution.

Fish Restaurant

Marine design of cafes and restaurants is traditionally associated with blue, turquoise, silver, green shades. To make the color scheme look harmonious, combine them with warm colors: beige, golden.

Use wicker furniture – it will make guests associate with a pleasant evening by the sea.

The bright light will also help guests to mentally travel to the sunny beach. Complete this feeling with interesting details in the restaurant’s interior: shells, steering wheels, ropes, fishing nets and bottles with colorful sand. On the walls you can paint whales, jellyfish, bizarre fish or squid.

Aquariums can be used to separate the hall and the kitchen.This will become an original design detail and will allow guests to personally choose their dinner – so they will surely be sure of its freshness.

The best fish restaurants in Moscow

Rating of fish restaurants – the best places in Moscow, where you can taste the most delicious fish dishes. Addresses, opening hours, average bill.

Greek Restaurant

The main colors in the interior of the Greek restaurant are white and pale blue.Wooden cabinets and doors, wicker furniture and lampshades will create the atmosphere of a seaside resort town. White linen tablecloths on the tables and light light curtains on the windows will be a reference to the Greek tunics.

The interior of the restaurant can be decorated with columns, statues and amphorae in antique style. A small fountain with ancient Greek motives can be placed in the center of the hall.

Place artificial flowers, olive branches, fruits, bottles of olive oil on the shelves.The walls can be decorated with photographs of seascapes, pictures of Athens and Santorini.

Pay attention to the music – play traditional sirtaki as well as modern Greek songs in the evenings.

French Cafe

French restaurants are decorated in the Provence style, which is characterized by lightness and airiness. It is important to fill the room with light – large windows without curtains can be decorated with transparent lace curtains.

Plaster the walls in a casual manner.The main colors of the decor will be light, pastel shades.

The Provence style cafe interior implies bright accents of lavender and olive colors – these can be flower pots or paintings on the walls. Antique coffee grinders and vintage watches will also perfectly fit into the concept. Let the decor details be deliberately careless, but at the same time elegant. Baguettes, croissants, fancy buns can also be used as interior items.

Forged lamps and fresh flowers – lavender, geranium, primrose – will emphasize the cool design of the French restaurant.Let French music play softly in the establishment: both classical and modern songs will do.

Russian Restaurant

It is difficult to imagine the interior of a Russian restaurant without wood trim. You can make stylized log walls, choose massive angular furniture. Instead of chairs, put large wooden benches in the old Russian style – it will turn out very authentic.

Lay white tablecloths with traditional red or blue embroidery on the tables.An interesting idea is to place a large wood-burning stove in the corner of the hall to make a stylized photo zone for guests. Place voluminous chests near the walls – they will store tablecloths, napkins, warm blankets for visitors. Place a spinning wheel, a chest of drawers with Zhostovo trays, and a wooden horse nearby.

Old utensils can be hung on the walls: wooden ladles, painted spoons, grips and cutting boards. Condiments can be stored in patterned salt shakers, as shown in the photo.

Pay special attention to the cookware.Dishes can be served in small pans and in clay pots, and tea for company can be served in a samovar.

Do not forget about the musical selection: it will be great to find folk songs processed by contemporary artists.

Children’s cafe

Ideally, a children’s cafe needs a large room with enough space to play and frolic. It will also be possible to make a separate room for parents there – so that everyone is comfortable during the festive feast.
Do not forget about special chairs for the youngest guests and changing tables in the toilets – moms and dads will definitely thank you!

Bright colors are suitable for the design of a children’s restaurant: yellow, blue, red, green, pink, blue. The room should be bright so that the children can play and run comfortably.

Themed zones can be created in the interior of a children’s cafe: with Disney princesses, with superheroes, with characters from popular cartoons – it will turn out to be fun and unusual.

Big stuffed toys can be design details, kids love to tinker with. In a separate playroom, place various climbing frames and a dry pool.

It would be great to make one of the walls a huge whiteboard on which little guests can write and create, and then easily erase their drawings.

When creating the interior of a children’s cafe, make sure that there are no sharp corners, glass objects and fragile things in it – comfort and safety are very important!

Small cafe

Sometimes the space does not allow you to swing, but this does not mean that you will not be able to make a wonderful cafe in a modern style! Here are some tips to help transform your small space:

  • give preference to light colors that visually increase the space;

  • competent interior of a small restaurant is based on the design of the space in a single style – choose a clear concept and do not deviate from the idea;

  • select a modern bar counter – it will not take up much space, while several visitors can sit at the bar at once;

  • Let there be a little jewelry and they all emphasize the style of the institution. For example, in a classic English style, a tall grandfather clock and a few red antiques on the shelves will do;

  • Choose small but comfortable furniture to avoid feeling crowded. Chairs with high backs can be chosen to make guests feel more intimate.

We wish you strength and inspiration to create an original interior in your restaurant!

90,000 Junior, Middle, Senior – what’s the difference and where next?

Hello everyone! My name is Alexander Demura, I have been working in IT since 2004, now I run the DataArt development center in Odessa (I myself am from St. Petersburg, but this is another story).My immediate responsibilities include the recruitment and development of our specialists, therefore, discussions on the “signatoryness” of employees and the qualities necessary for a particular role are relevant and familiar to me. I will allow myself a traditional disclaimer – this article outlines my personal opinion (fortunately, in DataArt, this is possible – it is not necessary for everyone to walk in line with the ruler). The text I have written does not claim to be the ultimate truth and is unlikely to become a revelation for people who already understand the issue.But it will be useful to those who are just starting their way into IT or do not really understand how and where to develop further, feel underestimated, or just want to broaden their horizons.

Initially, DataArt did not have a formal gradation according to the level of qualifications – after all, we take a whole person into the team, with all the pros and cons, and not just buy the required function on the labor market. If you think about it, “junior”, “middle” or “signor” are just cliches. But these shortcuts have to be used to simplify the picture of the world and increase the efficiency of communication – they are familiar to both clients and colleagues.

This allows you to agree on a set of expectations for a particular role. But real people rarely fit perfectly into a comfortable framework, and the productivity of each specialist in a project depends on many parameters. Therefore, it is almost impossible to come up with an objective abstract metric of steepness in a vacuum.

For example, a person can brilliantly prove himself in one project and suddenly get blown away in another – what to expect from him in the third? Someone might be brilliant at answering tricky technical questions, but still generating unsupported code.Someone, on the contrary, is lost on June issues, having a dozen successfully completed projects under his belt. To delve into such nuances, to help people use their strengths and compensate for their weaknesses is one of the tasks of management. It seems that she still does not have a general solution, which makes the work of a manager interesting, although sometimes difficult.

Intern

DataArt has an internship program where we hire people even without work experience. They have three months to grow to the junior level under the guidance of an experienced mentor.There are two basic requirements for an intern position:

  1. Good English.
  2. Understanding of the selected tool and the ability to use it.

Our English proficiency requirement is, in fact, common to everyone. DataArt is an international organization, most of our customers are located in the USA and Western Europe, and even internal communications are increasingly in English. If a person is a competent technical specialist, we will help him to talk and improve his language – there are corporate courses and a bunch of additional initiatives for this.But if a person without technical experience (and an intern is just that) also knows little English, he needs to have unique qualities that will cover both of these shortcomings.

The thought about the instrument is also, it seems to me, simple. If you come to the role of a programmer, the tool for you is a programming language with development tools that you need to know how to use. If a potential intern wants to develop in .NET, but cannot explain what the CLR does, how “Equals” differs from “==”, or implement the simplest algorithm, he has no chance. Coming with zero knowledge and hoping that they will teach everything on the spot, while paying salaries at the same time, is useless – there is too much competition. Many candidates have professional courses behind them, they easily answer all theoretical questions and even have programming experience for themselves. Of course, such people are taken first.

After completing an internship, a person turns into a full-fledged june. The main requirement for it is the ability to independently perform technical tasks.If the architecture is built in the project, it must implement the next piece of typical application logic without delay. Although Junior can make mistakes from time to time, do not understand the nuances, discuss implementation plans with the team lead or check the finished code with him.

The following qualities are important for a june:

  1. Desire to develop and learn (and especially from your mistakes).
  2. Energy and commitment.
  3. Ability to take criticism calmly.

You need to understand that the tasks that the signor will solve in ten minutes may take June three approaches an hour each, and in the process the code will have to be rewritten completely, spending a lot of additional energy.It is important not to be afraid of this and to feel the balance: when to push, after trying to solve the problem on your own, and when, on the contrary, to stop banging your forehead against the wall, burning up the project time, and ask for help. It’s a bad idea to justify your lack of performance with the phrase “I’m still June”.

The main requirement for a middle-developer is the ability to independently perform the tasks assigned to him. Very similar to what was written in the previous paragraph, right? However, there is an important nuance – the word “technical” is missing here.That is, at a new level, you need to understand business requirements and be able to translate them into technical solutions.

Thus:

  1. Middle-developer understands exactly what the application is doing. This allows a deeper understanding of the task, and, therefore, more accurate assessment and better implementation. If the requirements do not fully cover a particular scenario, a good developer will pay attention to this during the planning stage. And not when the application starts to crash with any non-standard user action.
  2. A middle developer is familiar with standard patterns and solutions when building an application in his area, understands why they are needed, and knows how to apply them. Standardization of solutions is of great importance in collective code development, since it allows a new person to quickly figure out what’s what and minimizes the number of errors. Understanding the structure of a typical application makes the task of building it from scratch quite trivial, allows you to talk about the principles of correct implementation and distinguish good code from bad.
  3. Middle-developer understands that there is more than one working. He knows how to interact with other team members: he can discuss a difficult moment with a designer, clarify incomplete requirements with a business analyst or agree on an important technical solution with a project architect (if there is one) and, of course, owns the appropriate tools for team development.

Signor is an experienced developer who has seen a lot of code, got a bunch of bumps and was able to draw the right conclusions from this.The main task of the signor is to make the right technological decisions in the project. The “right” ones are those that bring maximum business value and minimize costs. A good signor not only understands what the team is developing, but thinks about what tasks the finished application should solve. When developing a platform for an auction, the signor always asks about the peak load and tries to foresee attempts to concurrently write to the database tables. He thinks in advance about the bottlenecks of the system, about the possibility of its scalability, remembers the vulnerabilities and problems caused by improper use of tools.

Such a specialist does an amazing thing – he solves problems even before they arise. From the outside, it resembles the gift of foresight. But if your project lives from fire to fire, and you constantly have to throw out and rewrite pieces of code, these are symptoms that the project is receiving insufficient attention.

With a little thought, we will be able to formulate a number of features of the senior developer:

  1. The ability to solve slightly more complex problems, to do it faster or better than the average developer, has almost nothing to do with signority.In our classification, a person who can do this is called “Strong Middle”.
  2. Signora cannot be obtained quickly. You need to gain a lot of experience and understand what distinguishes a well-made product from a blooper development, how technical debt manifests itself, how much refactoring costs, why patterns are really needed, and whether endless levels of abstraction are really necessary. It is necessary to make important decisions on your own and let them pass the test of time, otherwise you will not be able to evaluate them.
  3. Signor needs good communication skills, because he must not only offer the right solution, but also convince the customer and the team that he is right. If you could not defend a good decision and a bad decision was made instead, you will have to blame yourself. The “I told you so” option no longer works at the Senior level. It’s the same with the team – it’s not enough to know how to do it, you also need to be able to explain it intelligibly. Then the team quickly grows and gains experience, avoiding painful mistakes.The authoritarian approach (“do as I said”) often leads to internal conflicts, and the situation on the project does not improve at all — you must try to avoid this.
  4. Signor cannot do without understanding the structure of libraries and frameworks. If a development tool is a black box for you, and you compose an application from ready-made parts, not knowing what each of them has under the hood, the product will always be unstable and unpredictable.

The manager who puts the signor in the project hopes by this to reduce the technical risks, or at least begin to realize them.Rarely are systems without a single problem – technological perfectionism, more often than not, is simply unprofitable for a business. But to catch the moment when a few harmless crutches will turn the system into a patchwork monster of Frankenstein and stop this process in time – that’s for this, among other things, a signor is needed.

What’s next?

I’ll start by breaking the main myth about the growth of signors to project managers. The transition to managers is not a step up, but to the side! All the experience gained over many years of working as a programmer hardly helps in a new role, because you have to work not with code, but with people and plans.

The very idea that PM always stands above the developers, that he is more important and gets more, is wrong. For example, if you need to create a highly loaded application in the cloud, and there are no appropriate specialists, the best manager is doomed to failure. In addition, modern agile methodologies often do not provide for a dedicated position of a project manager at all, so it is better to consider management as one of the roles in the team, and do what is interesting and good at it.

Where, then, should the signors develop? Many programmers like to talk about a “ceiling” – when the internal rate (that is, the money you get for work) approaches the external rate (the invoice issued to the client for your work) with minimal margin. They believe that in this case, the further growth of a specialist becomes impractical for the employer. However, this is not the case, there are many ways to further increase your value (at least in DataArt). Therefore, the Senior Developer position should be viewed not as a career plateau, but as a springboard for further development, for example, in one of the following areas:

Technical Expert

The status of a technical expert implies a deep knowledge of a separate and specific area.For example, you might be an expert on Azure / AWS and know the various services that these platforms provide. Be able to do Machine Learning or Computer Vision, know everything about web vulnerabilities, understand how cryptocurrencies work, or properly prepare Sharepoint. Such problems do not occur every day, but when they appear, the finest hour of technical experts comes. Without them, such projects would be simply impossible, and the company is often ready to pay extra for this unique knowledge.

Industrial Expert

DataArt is trying to develop in certain domain areas (travel, finance, healthcare, etc.)NS.). In each project, programmers not only acquire their own technical knowledge, but also get the opportunity to look into the customer’s business, understand how the industry works, and find out its characteristic problems and solutions. What does it cost to build your own payment system like PayPal? Why is the Saber system needed? Or what is HIPAA and what constraints does it place on the development of healthcare solutions in the United States? People who have this knowledge often form the backbone of the project and bring tremendous added value to the company and the client.Therefore, his compensation may exceed the external rate – companies themselves are ready to pay extra to such people in excess of the invoice issued to the project customer.

Frontman

The ability to present oneself and the company correctly and well, talk about complex technical things in simple words, quickly assemble a prototype and show the first results, speak the same language both with the client’s top managers and programmers – these are the distinctive qualities of a frontman. Such people are often called on the first calls and sent on their first business trips to the client, their task is to quickly understand the problem, explain exactly how we can help, and establish interaction with the offshore team.The combination of technical coolness with presentation skills allows the company to receive new projects, and accordingly, the people who possess them are highly valued.

Team Lead

The role of the team lead is clear and traditional enough that I do not dwell on it in detail. It is, in fact, a combination of technically sound solutions with quality development processes. Their correct combination means more benefit for the client for the same money, less chances for Jun to spoil something due to inexperience, plus additional benefits for the company – such as standardizing approaches to development, lowering the threshold for entering a project and stimulating the growth of specialists in the required direction.

Architect

Some projects cannot be just taken, sat down and started writing. They may be too large or complex, but overall, an architect may be needed in a project for a thousand different reasons. The architect is required to have the same understanding of the client’s business, the ability to analyze complex technical systems, and then convey this understanding to the customer and developers. Plus a broad outlook in terms of platforms and components available on the market from which a solution can be synthesized.For an architect, “microservices”, “cloud”, etc. are not fashionable trends, but well-defined technological solutions that provide strictly defined advantages and impose corresponding restrictions.

I have listed five possible roles only in the technical development branch, without touching on testers, analysts, managers, designers, marketers, or salespeople.

Optional: work without intermediaries

I want to write separately about work without intermediaries, which some perceive as the Holy Grail for the programmer.It would seem that everything is logical: we find a customer, provide him with our services directly, we take the entire rate for ourselves – profit! However, you need to understand that, in addition to profits, all the associated risks fall on the programmer in this case. You need to carefully read the clause of the contract on the responsibility of the parties, know the legal and tax base, come up with a mechanism for receiving money, act if the client did not pay or unexpectedly curtailed the work. At DataArt, these issues are solved by specially trained people (salespeople, lawyers, accountants), and even if the customer went bankrupt and went out of business with crazy debts, the developers will still receive money on time and calmly move on to the next project.When working directly, everyone turns out to be for himself. In addition, most companies spend very tangible budgets on attracting new customers, so direct relationships with customers that the company has found are prohibited by contract from either side.

On this I would like to finish for today, if you have new ideas for articles – write!

Website design ᐉ Order website design development

More about our studio.

Almost every resource is evaluated, first of all, by its external attractiveness. Therefore, now in the process of creating Internet portals, website design development is taking a leading position. Web studios in Kiev, and all over the world, offer website design services and claim that this is a task for professionals.

What are the stages of the company’s website design development?

Before starting work on any project, you should decide on the style of its design.In general, there are several groups of styles, depending on various factors:

1) Depending on the theme: classic, futuristic, retro, magazine and so on, depending on the theme of the project for which the site is being created.

The main requirement for thematic design is compliance with the theme and spirit of the project. Website development is a creative process, but no matter how much you would like, for example, to make a website in a cartoon style for an accountant, it is better to choose a more suitable design theme, since such a creative may not be understood by clients.

2) Depending on the color scheme: light, dark, with an emphasis on one color, combined.

As a rule, the most common color schemes are combined, but there are projects in which bright and original web design is not very appropriate and the design, sustained in certain colors, looks more advantageous.

3) Depending on the presence or absence of graphic elements: clean, standard, artistic.

The standard style, harmoniously combining text and graphics, is the so-called “golden mean”, but some projects require more artistry, for example, sites with a creative focus, and some, on the contrary, are positioned as information portals, so the individual site design does not need serious graphic design.

4) Depending on the volume and nature of the materials placed: minimalistic, columnar (usually two or three) and complex.

Design in the style of minimalism implies an emphasis on one object and is suitable, for example, for narrowly themed sites. The structure, consisting of several columns, is the most common and harmoniously fits into almost any topic. You should be careful with complex sites. It takes a lot of designer skill to competently transform an original web design, consisting of many elements, into a resource that is understandable to the user.

5) Depending on the correspondence of the screen resolution: fixed, rubber and adaptive.

Since now sites are viewed not only from a computer, but also from tablets, laptops and phones, fixed design is becoming a thing of the past, rubber and responsive website designs are becoming more and more popular, the price of which is slightly higher, but the convenience for users is undoubtedly outweighs the difference in cost.

However, regardless of the chosen style and price of design development, the resource design should perform a number of tasks:

Dissemination of information about the project and its promotion.

The site is created, first of all, in order for people to know about this or that project. Therefore, any design must be subordinate to this task. And the cost of web design development includes the work of the designer to create the design that best helps the project to open up and attract attention.

Presentation of information in a visually attractive form.

Nicely and structured information is better perceived by people, therefore, the designer’s task is to make the appearance of the project attractive to the target audience, so that the resource is remembered and does not remain one of the many viewed and forgotten pages.

Create a user-friendly resource.

Even the most beautiful and aesthetically pleasing site will not work if it is difficult for people to understand how to use the resource. Website development and design implies not only the development of a beautiful picture, but also the preparation of a site that is understandable and convenient for the target audience of the project.

Why order a corporate website design from the BrainLab web studio?

Web-studio “Brainlab” has been working on the creation of various Internet resources in Kiev for more than one year.Therefore, we know how important a high-quality website design is. Our team includes professional designers who have experience in designing a variety of portals of various orientations and know which style is right for your project. We do not realize our creative ambitions at the expense of the client, but we offer exactly what will make the site work and fulfill the assigned tasks. At the same time, in matters of the price of our services, we always meet the customer halfway.

You should trust professionals in any matter.Therefore, entrust the development of your website design to the Brainlab web studio, we guarantee that the result will pleasantly surprise you.

Telegram channels for freelancing / Skillbox Media

Another channel for those who want to find a job in game development, 3D and VFX. The vacancies are different, but mainly looking for animators, concept artists and those who work in 3D, there are many offers for programmers.

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Here you can find a wide variety of jobs. They are looking for lead generation specialists, contributing editors, developers, internet marketers, sales managers, designers, and other professionals.

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One of the largest freelance channels with over 200,000 members. The range of vacancies is huge, so it makes sense for specialists in any field to subscribe. There is work for beginners too.

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Many small and simple orders are published here, which are perfect for beginners. The downside is that there is a lot of spam and advertising on the channel.

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Most of the channel’s vacancies are related to Digital. In addition to the vacancies themselves, they post useful posts about freelancing and seeking earnings through Telegram.

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Almost 25,000 people have subscribed to the channel. Post vacancies for editors, copywriters, marketers, managers and developers.

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You can find a wide variety of vacancies on the channel, but most of the ads are dedicated to work in design, creative, marketing and advertising.

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Looking for copywriters, designers, animators, photographers and even seamstresses. Interestingly, many proposals are related to freelancing and work in other countries.

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There are simple and clear announcements on the channel – information is broken down by points, the most important is highlighted. The reader will spend literally two seconds to understand whether the vacancy is suitable.

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Post vacancies from different fields. They are looking for everyone, starting with dog sitters and ending with targetologists.

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Most often, vacancies appear here for designers, copywriters and internet marketers. Not only vacancies are published, but also courses – usually they give a promotional code for a discount.

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Every day the channel publishes 5-8 vacancies in different fields. For example, the channel recently published an advertisement for the New York Metropolitan Museum – the owners were looking for a Russian-speaking specialist for the education department.

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Almost all Web Freelance ads are one-time projects or remote work. Most often they are looking for programmers and designers, but other specialties come across as well. For example, an announcement was recently published for aspiring English teachers.

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Most often, SMM specialists and content managers are looking for on the channel, but there are also vacancies for designers. Vacancies for beginners, low pay.

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If you want to discover the world of IT, I recommend courses from Beetroot Academy. The teacher is a practitioner, tells what is in demand now and how it is being done now. The courses last exactly as long as it takes to gain initial knowledge, with which you can already work on a commercial basis. Well, the pleasant atmosphere inspires you to dive deeply into the world of web development.

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Yaroslava Bozhko
Vipusknitsa, Odessa

More than a dozen graduates of Beetroot Academy work in our company. All the guys meet the requirements for the junior position, all of them successfully cope with the tasks.

Katerina Kulakovskaya
HR Manager, Viseven

Cool courses, interesting practical lessons, accessible materials and English as a bonus.Prepare for interviews and help with resume)

Tatiana Sikirskaya
Vipusknitsa

Four months of training flew by like a week: it was so informative, friendly and fun that you want more! I am very grateful for the good base and the desire to develop further.

Olga Ivanitskaya
Vipusknitsa

If you want to discover the IT world, I recommend courses from Beetroot Academy. The teacher is a practitioner, tells what is in demand now and how it is being done now. The courses last exactly as long as it takes to gain initial knowledge, with which you can already work on a commercial basis.Well, the pleasant atmosphere inspires you to dive deeply into the world of web development.

Stanislav Borovko
Graduate, Kramatorsk

I am a 2-year graduate at Beetroot Academy. First of all, thanks to Bitrut, the realization came to me of what I want to do, and where I want to move on. In the academy, I found my “passion”, exactly something “mine”, something over which I can sit for hours for more than a year and not cool down. I am one of those people who would like to be everything at once 😊. If you are like me, then you understand me how difficult it is to stop and develop in one direction.I wanted my future work to combine: pleasure (of course), the ability to work from anywhere in the world, a good salary, my own schedule. Even if not immediately, but I did it all the same. New horizons and goals are already ahead. And you will succeed if you want something badly.

Valeria Tonkoshtanova
Graduate

Previously, everyone wanted to become astronauts, and now – programmers. The field of information technology has become the most attractive for employment.If you want to get one step closer, and maybe even get to know the field, then you are at Beetroot Academy. Good teachers, an individual approach to each student and new acquaintances. Recomend for everybody.

Rodion Klochkov
Graduate, Kramatorsk

We have graduates of Beetroot Academy. This is the only specialized educational institution that I can recommend.

Bogdan Gubanov
Regional Diractor, Morebis

Beetroot Academy is an amazing example of a new era of education, where every teacher cares about the development of students.Here, the result and the student’s interest are in the foreground. The atmosphere is friendly and open, devoid of hierarchy.

Yulia Golub
Graduate, Mariupol

Excellent school, private approach to each student. If you want to learn new things or improve your knowledge in an already chosen profession, this is exactly the place where you need to go. Recommend.

Artem Melnik
Graduate, Kramatorsk

Beetroot Academy gives good theoretical and practical knowledge.This is an excellent base for beginner IT specialists. I advise employers to attend graduation academies – there you can find employees who want to develop their skills

Ella Kasyanenko
Talent Acquisition at Windmill Smart Solutions

Very cool courses. Many practical interesting tasks. Mega cool team and great atmosphere. I am grateful for knowledge, experience and new acquaintances.

Anton Timoshenko
Graduate, Chernigov

Four months passed too quickly, this was the best course.I am very glad that I got into this academy and this stream. The staff at Beetroot Academy is very friendly and welcoming, it was a pleasure to spend time here outside of working hours. I discovered a lot of useful and interesting things, for which I am grateful to the team.

Yaroslava Bozhko
Vipusknitsa, Odessa

More than a dozen graduates of Beetroot Academy work in our company. All the guys meet the requirements for the junior position, all of them successfully cope with the tasks.

Katerina Kulakovskaya
HR Manager, Viseven

Cool courses, interesting practical lessons, accessible materials and English as a bonus.Prepare for interviews and help with resume)

Tatiana Sikirskaya
Vipusknitsa

Four months of training flew by like a week: it was so informative, friendly and fun that you want more! I am very grateful for the good base and the desire to develop further.

Olga Ivanitskaya
Vipusknitsa

If you want to discover the IT world, I recommend courses from Beetroot Academy. The teacher is a practitioner, tells what is in demand now and how it is being done now. The courses last exactly as long as it takes to gain initial knowledge, with which you can already work on a commercial basis.Well, the pleasant atmosphere inspires you to dive deeply into the world of web development.

Stanislav Borovko
Graduate, Kramatorsk

Next

methodological aspect – the topic of a scientific article on educational sciences

N.A. KOVESHNIKOVA (Eagle)

from the history of design education:

methodological aspect

The evolution of art education is traced.Despite the fact that in the XVI century. artistic design is singled out as an independent type of activity, and since the 17th century. it became especially in demand, the artists of that time did not receive any design skills. Thus, it is shown that up to the beginning of the twentieth century. in art education, there were no vocational training methods inherent in modern design.

Keywords: handicraft training, art academy, artistic design, design.

it is obvious that the history of the development of the system of professional training of specialists in any field is directly related to the formation of the profession itself. Thus, in order to determine at what time the system of design education began to take shape, one should bear in mind the time of the birth of design as an independent activity. As shown in the works of many researchers, in particular, in the articles of V.M. rozin and V.F. Sidorenko, design and, more broadly, design culture have a long history, hardly much less than the history of mankind itself [5; 6].however, the researchers emphasize, any design activity cannot be equated with design engineering. it is obvious that design is preceded by certain trends in craft production, art, engineering design, etc. from this, however, it does not automatically at all follow that all previous human activity in creating a subject-spatial environment can be designated as design. This is especially clearly confirmed by the study of the forms, content and methods of professional training of specialists,

who in the pre-industrial era were engaged in the manufacture and decoration of objects.first of all, we are talking about artisans, artists and craftsmen of decorative and applied arts.

To solve the problem posed in our study, it is necessary to pay special attention to craft as the most ancient type of material production, its genetic links with design and, in particular, to the specifics of craft training. We will try to find out whether some, albeit unconscious, “proto-design” teaching methods existed in the process of training craftsmen.The subject of our analysis will be craft in its “classical” period – in the Middle Ages.

b.r. Aronov admits the presence of “spontaneous design” within the framework of handicraft production. In his opinion, the instruments of labor of the past are especially indicative in this respect: “all of them were created, albeit in a primitive, but technical way, they were necessarily replicated, and their appearance clearly reflected the interaction of form, design and function” [1: 61 – 63].

The medieval master had apprentices and apprentices. The training period was very long – from 3 to 12 years. The students who were trained by the master, thus, received a very high qualification, i.e. professionally, they were fully prepared for independent activity.

training in the craft in the form in which it existed in the Middle Ages fully corresponds to the demonstrative type of training.it is the transfer of a kind of “knowledge – skill” through the assimilation of a certain set of practical skills. in other words, handicraft knowledge is knowledge of how to do a thing. it is obvious, however, that design was not yet a special activity in the guild craft. the artisan showed his individuality more in solving any particular problems of shaping than in shaping a complete product. Activities of ordinary mass crafts –

© N.KoveshnikovaA., 2009

Nika

was, strictly speaking, producing, not designing. The design remains somewhere outside the craft workshop. The project goes to the artisan as a canon – the image and sample of the product, which he must follow.

In the XIV – XVI centuries. in Italy, on the basis of the ancient heritage, an unprecedented flowering of art begins. And, paradoxically, it was in the Renaissance, with its ideal of a universal creative personality, that the final division of the single Latin concepts ars into craft and art and artifex – into an artist and a craftsman took place.Let us dwell on the forms of work and methods of teaching artists that developed in the Renaissance bottegs – the workshops of sculptors and painters.

As shown by V.P. Golovin, by the 16th century. traditional Renaissance bottegs are undergoing significant metamorphoses [2]. Until the end of the Quattrocento, the owners of art workshops remained, in the opinion of society, highly qualified artisans, and they themselves felt so. During the XV century. the social position of artists is changing: the customers begin to value not the craftsmanship of things, but the skill of the design, what will later be called the “internal drawing” (disegno interno) and separate from the execution.

A similar process is taking place in the fine arts education system. Handicraft apprenticeship, which combined educational and production processes, in the Renaissance was divided into two components. Vocational education is gradually emancipating from production activities and finally loses its connection with traditional craft apprenticeship. Mastering craft skills is now seen only as a mandatory basis for further art education.O. Nazarova notes that the emphasis in teaching from the technology of handicraft production is shifted to the development of more and more abstract things; artists are actively engaged in sciences, studying anatomy, optics and geometry, problems of perspective and proportions of the human body [3: 23].

The systematic development of the system of art education and upbringing begins at the end of the 16th century, when training in drawing begins to be carried out in special educational institutions – art academies.They combined the theory and practice of painting, created a harmonious aesthetic and pedagogical system, laying the foundations for the academic doctrine of West European painting of the 17th-18th centuries.

Note that during this period the occupation of artists changed. Interesting in this sense is the example of the French Academy of Painting. Art in absolutist France is acquiring more and more official status and comes under strict state control. Now the artist is no longer a medieval master, sacredly honoring the traditions of his craft, and not a creator of the Renaissance, who feels on an equal footing with humanist thinkers and the greats of this world.A modern artist is a specialist in official service who has to reckon with both the tastes of influential customers and the dictates of the Academy.

According to K. Helwig, the Academy did not give future artists full professional training, but only provided its theoretical part, which included drawing from life and lectures [7: 419]. The practical part of the training, as before, took place mainly in the master’s workshop.

French artists starting with C.Lebrun, the president of the Academy of Painting, are now working in a new field for themselves: they create drawings for products of royal manufactories. K. Odran, Sh.-A. Coix-Pelle, F. de Troyes, J.-B. Udry, F. Boucher. At the Sevres manufactory, which was patronized by Madame de Pompadour, porcelain products, famous throughout Europe, were made according to drawings by F. Boucher and C. Duplessis. Albums with furniture drawings are published by Zh.A. Meissonier, J.M. Oppenor, N. Pino.

It is very important for us to note that it is at the artistic manufactories (furniture, textile, porcelain, etc.)design becomes special –

activities. Here, the creation of a thing is already preceded by the creation of a project – a sketch that the artist draws. It is according to the sketch that the production is carried out. This became possible due to the fact that during the Renaissance, the art of design was isolated within the holistically formed sphere of art. It is tempting to see the first designers in the artists of the Sun King’s court. However, it should be emphasized that at the royal manufactories, the artist made sketches for the orders of the court, taking into account his tastes and needs.During this period, design is still very far from production. In addition, the artists of that era did not receive the slightest design skills in the process of training. They were in no way concerned with the technical feasibility of the production within which these projects were being carried out.

In conclusion, let’s draw some conclusions. In the Middle Ages, there was no division into craft and art, and there were no special methods of teaching artisans.The techniques and methods of vocational training were the same for all professions: each master passed on to his students an arsenal of techniques and skills, kept in strict secrecy from outsiders. The main method in vocational training is copying, unconditional adherence to patterns. The problems of shaping, attempts at any theoretical understanding of it, and, moreover, scientific substantiation, were not at all part of the range of professional interests of medieval artisans. Design engineering is absent from the craft, even in its infancy.Consequently, within the framework of craft apprenticeship, there did not exist and could not exist any rudiments of art education.

In the Renaissance, within the framework of artistic creation, design is distinguished as an independent type of activity, but does not receive the status of an academic discipline in the academies of arts of the New Age. Artists working on projects for manufactures, in fact, relied more on their own intuition than on professional skills.

Later, in the 19th century, the industrial enterprises that replaced manufactories, satisfying the needs not of the court, but of the impersonal market, essentially did without the services of an artist. This led to the fact that when consumer goods manufactured by an industrial method became widespread, a discrepancy between the rather “modest” capabilities of the machine and those aesthetic requirements that humanity had already developed in the process of historical development was immediately revealed.

The decline in the artistic quality of mass industrial products in comparison with handicraft samples was clearly manifested already by the beginning of the 19th century. It is quite natural that it was at this time that a fundamentally new system of art education began to take shape, preparing personnel for work in industry. However, we emphasize that in the art and industrial educational institutions of the XIX century. trained masters of arts and crafts, not designers.Drawing was the main subject, and copying was the main teaching method. Artistic design as a special discipline did not yet exist in the period under review. The educational process was often reduced to the development of the student’s “accuracy of the eye and fidelity of the hand,” since the goal was to scrupulously convey the original. As a rule, decorations for factory and factory products were copied from engravings and prints. This means that the professional techniques of the masters of the art industry in the period under review remain the same as those of easel artists.There are no attempts to theoretically comprehend the relationship between the properties of the material and the methods of its finishing, the pattern and shape of the product, etc. On the contrary, the copied ornament or drawing was only mechanically applied to the product, which led to a primitive external decoration.

In other words, they tried to increase the aesthetic dignity of utilitarian things at the expense of additional, intro-

hay from outside the visual means.Note that any modern design design technique is based on an understanding of the entire complex of factors that affect the shape of the designed object. In art and industrial schools of the XIX century. the understanding of the totality of factors of shaping as a strict system, obviously, has not yet developed and has not been taken into account either in practice or in the process of professional training of applied artists.

The beginning of the reform of art and industrial education began with a rethinking of the goals, content and methods of training artists for industry.Great credit goes to the first design theorists D. Ruskin and G. Semper. They were the first to address the issues of shaping and designing utilitarian objects. Before reskin, art criticism, as a rule, was engaged only in the “fine arts” – music, poetry, painting. Ruskin, on the other hand, considered the art of everyday things fundamental in the hierarchy of arts, because, he explained, clothes, utensils, furniture appear first, and only then paintings and statues. He insisted that the most important function of art is not to please a select few, but to “give charm and value to everyday objects: clothing, furniture, home” [4: 167].Thus, he argued, there is a close and inextricable connection between art and practical use, and the form of any object of decorative art depends not on the whim of the artist, but on the practical purpose it serves.

The theoretical works of G. Semper played an equally important role in understanding the general principles of the production of beautiful and technological things. Based on the study of samples of applied art and architectural structures, he came to the conviction that these areas of creativity are subject to the general laws of the emergence and development of forms.From this, Semper made a revolutionary in its novelty conclusion that there is no principled

differences in the training of an architect and an applied decorator.

The theoretical works of D. Ruskin and G. Semper made it possible to look at things differently and understand that their form and decor are not arbitrarily determined by the will of the artist, but are inextricably linked with function, depend on the material and method of production.These ideas formed the basis of teaching methods in the famous schools of industrial design of the 1920s, where modern methods of professional training of designers were developed.

Literature

1. Aronov V.R. Artist and creative work. Problems of the interaction of material and artistic culture of the twentieth century. M .: Sov. artist, 1987.232 p.

2.V.P. Golovin Medieval tradition in the practice of Renaissance art workshops // Culture of the Renaissance and the Middle Ages. Moscow: Nauka, 1993.S. 148 – 155.

3. Nazarova O. How the Renaissance artists studied // Young artist. 2001. No. 1. P. 20 – 23.

4. Ruskin D. Lectures on art. Moscow: BSG-Press, 2006.319 p.

5. Rozin V.M. Design as an object of philosophical and methodological research // Vopr. philosophy. 1984. No. 10.P. 101 – 111.

6. Sidorenko V.F. Genesis of design culture // Vopr. philosophy. 1984. No. 10.P. 87 – 99.

7. Helwig K. 17th century. Painting of Italy, Spain, France: Baroque. Architecture. Sculpture. Painting / ed. R. Toman. Cologne, 2000.S. 372 – 427.

History of design education: methodology aspect

The evolution of art education is obviously seen.In spite of the fact that art projecting activity was regarded as independent in the XVI century and since the XVII century it had become very demanding, the painters of those times didn’t get any skills of projecting. So it is clear that till the beginning of the XX there weren’t any professional training methods in the art education like nowadays.

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