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1 parent 4433e1c commit 90118765a25fcae9f1d539fb3e1d28af8861905a @lydiapintscher lydiapintscher committed Aug 23, 2011
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38 artworkdesign/EugeneTrounev.tex
@@ -9,37 +9,37 @@ \chapter{Use of Color and Images in Design Practices - Eugene Trounev}
Knowing the purpose however is not that hard, since all of those variations of
hues and lines are put together to be read and felt by every one of us. It is
true therefore that a great design must come straight from the heart, as it is
-supposed to speak to the heart in the first place. None the less, just the heart
+supposed to speak to the heart in the first place. Nonetheless, just the heart
alone would not be able to make a great design, if some rules are not set and
followed at first.
\section*{Colors and textures}
There are many different ways to classify the colors into categories, but many of
-them focus on physical, or chemical properties of light or ink, and though they are
-important in the end, will not help you make an appealing design. The one way
-that I found works best is to split colors into warm and cool. Simply speaking
+them focus on physical or chemical properties of light or ink, and though they are
+important in the end, those will not help you make an appealing design. The one way
+that I found works best is to split colors into warm and cool. Simply speaking,
warm colors are those closer to the shade of red. They are: red, orange and
-yellow. While cool colors are the ones running towards blue. They are: green,
-blue and to the lesser extend violet. It is important to remember that cool is
+yellow. Cool colors, on the other end, are the ones running towards blue. They are: green,
+blue and to a lesser extend violet. It is important to remember that cool is
also calm and breathy, while warm is impulsive and dangerous. So, depending on
-what feelings you wish to awaken within your audience you should use either
+what feelings you wish to awaken within your audience, you should use either
warmer or cooler colors. Draw attention with warm and inform with cool.
Overuse of either will result in either overheating -- creating negative feelings
in your viewer, or freezing-over -- causing indifference.
-It is important to remember that black, white and grays are colors, too. These
-however are neutral. They cause no feeling, but rather set an atmosphere. The
+It is important to remember that black, white and grays are colors, too. These,
+however, are neutral. They cause no feeling, but rather set an atmosphere. The
properties of these will be discussed later.
Every image is first and foremost a collection of colors, and as such will abide
-to the rules of color management. Determining the dominant color of your image is
+by the rules of color management. Determining the dominant color of your image is
the key to success. Try to see the big picture, and do not concentrate on
details. A good way to do this is by setting an image against some dark
background, then taking a few steps back and observing it form a distance. Which
color do you see the most of?
-Not all images have a dominant color however. Sometimes you may come across
+Not all images have a dominant color, however. Sometimes you may come across
color bloat, where no matter haw hard you look you can not determine which hue
dominates. Try to avoid such pictures, as they will inevitably confuse your
viewer. When confronted with imagery like that, people tend to look away quickly
@@ -58,16 +58,16 @@ \section*{Colors and textures}
\section*{Texts and spaces}
-The next equally important aspect of any good design is the use of text and
+An equally important aspect of any good design is the use of text and
spaces around it. And just like it is with the image textures and color, you
-should always remember that people like to breathe. Meaning that there should be
+should always remember that people like to breathe. This means that there should be
sufficient space in and around the text to make it easier to spot, read and
understand.
Consider an example of two pages -- one coming from a romantic novel, while the
other is taken straight from a legal document. You would most likely prefer the
romantic novel over a legal document any day, but do you know why? The answer is
-simply because you like to breath. A page from any romantic novel is likely to
+simply because you like to breathe. A page from any romantic novel is likely to
contain three important elements: a) conversations; b) paragraphs; c) extra wide
margins, while most legal documents normally contain neither. All of the
aforementioned elements make the page feel alive and dynamic, while the absence
@@ -84,15 +84,15 @@ \section*{Texts and spaces}
to keep at least one character-toll space between your paragraphs and lines, and
two character-toll space between sections in your text. Allow generous spacing
around the text on a page by setting your margins wide enough. Try to never go
-below 10 points font size for your paragraph text, while keeping headers large
+below 10-points font size for your paragraph text, while keeping headings large
enough to stand out.
\section*{Attraction and information}
Just like animals, human beings are often attracted by bright splotches of color
and unusual texture, and the more captivating the sight is, the more oblivious
people become towards other potential points of interest. This simple rule of
-attraction has been used since the most ancient times by both females and males
+attraction has been used since the most ancient times by females and males
alike to drive the attention of others away from certain things they did not want
to be noticed. The best example of such a trickery is the work of a street
magician, who often distracts viewers’ attention by use of smoke, flames or
@@ -103,16 +103,16 @@ \section*{Attraction and information}
smoke and fires can also be achieved through creative use of wording. By far the
best example of a trickery done with words is our every day price tags. Ever
wondered why retailers love those .99s and .95s so much? That is because \$9.95, or
-even \$9.99 looks more attractive then \$10.00, even though in reality they
+even \$9.99 looks more attractive than \$10.00, even though in reality they
have the same impact on your wallet. Trow an ``old'' \$10.00 price tag noticeably
crossed through with a thick red line into the mix and you got yourself a great
customer magnet.
-\section*{Closure}
+\section*{Conclusion}
Great, attractive design is achieved by following these simple rules: a) choose
your imagery wisely; b) make good use of colors and textures to create an
-atmosphere; c) give your viewer some room to breathe; d) distract the attention
+atmosphere; c) give your viewer some room to breathe; d) draw the attention
away from the parts that matter the least, and towards those that matter the
most.
View
2 conferencessprints/NoirinPlunkett.tex
@@ -62,7 +62,7 @@ \chapter{People are Everything - Nóirín Plunkett}
tradition of emigration to find employment.
You see, Open Source is all about the people. Really, on almost any
-project you woud want to be a part of, the code comes second. People are
+project you would want to be a part of, the code comes second. People are
what distinguish a project that is a joy to work on from one that is a
chore; people are what make the difference between a project that is
flourishing and one that languishes in the bitbucket. Sure, you will
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8 research/FelipeOrtega.tex
@@ -38,7 +38,7 @@ \section*{Generational relay}
The study of generational relay (or developer turnover) in FOSS projects is
still an emerging area of study that needs further research to improve our
understanding of these situations. In spite of this, some researchers have
-already collected objective evidences that shed some light on these processes.
+already collected objective evidence that sheds some light on these processes.
In OSS 2006, my colleagues Jesus G. Barahona and Gregorio Robles presented a
work entitled ``Contributor Turnover in Libre Software Projects''. In this work,
they show a methodology to identify the most active developers (usually known as
@@ -166,11 +166,11 @@ \section*{It feels like home}
which critical parts will need a new maintainer. Ideally, if you are a
community, prepare at least a very simple procedure to automate this process and
make sure that you do not forget any important point before that person leaves
-the project, (especially if she was a key developer!).
- \item Keep an eye on the size of orphaned code. If it raises too rapidly, or it
+the project (especially if she was a key developer).
+ \item Keep an eye on the size of orphaned code. If it rises too rapidly, or it
reaches a significant proportion of your project, it is a clear indication that
you will be running into trouble very soon, especially if the number of bug
-reports grow or you plan to revamp your code with a serious refactoring.
+reports grows or you plan to revamp your code with a serious refactoring.
\item Always ensure that you leave enough tips and hints for a newcomer to take
over your work in the future.
\end{enumerate}
View
2 research/MarkusKroetzsch.tex
@@ -1,6 +1,8 @@
\chapter{Out of the Lab, Into the Wild: Growing Open Source Communities around
Academic Projects - Markus Kr\"{o}tzsch}
+\todo{can we shorten the title?}
+
\textit{Markus Kr\"otzsch is a post-doctoral researcher at the Department of
Computer Science of the University of Oxford. He obtained his Ph.D. from the
Institute of Applied Informatics and Formal Description Methods (AIFB) of the

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