![]() ![]() And while the photo is not required, your reader or recruiter will prefer to see it. It's your choice to display it or not and I won't try to convince you of one or the other! The idea here is just to state the facts. Here, I'm going to address two important points for his portfolio:įirst of all and very quickly, let's talk about your photo. This is something I've always done and will continue to do: I've always preferred to mark less stuff, but mark only what I like to do, and what I'd be happy to get up for in the morning! Not everyone is looking for the five-legged sheep who knows how to do everything, many are looking for someone who is an expert in their field. That is, for something that should take me 5 minutes, I'll spend 15! Because in fact, yes I master them all but I don't like using them all! If a client makes me work on Sketch, I will be much less productive than if I work on XD. I find it counterproductive to say I master Illustrator, Photoshop, After Effect, Première Pro, XD, Sketch. The second is to simply list what you are best at but especially what you like to do. So that your reader can visually see what you master the most. The first one is to indicate what you master: languages, software, tools, services and to indicate a gauge or a percentage next to it. Do not present all your visuals in the same way! Zoom in on details, vary formats (full page, square, 16:9, rounded) and vary colors.Īaah the point that makes you angry ! For this part, there are two ways to look at it.There is nothing more unpleasant than looking at a pixelated image. If he made a poster in 2010 and he adds it to his portfolio in 2021, the reader must know that the graphic style used in the realization corresponds to the fashion in 2010. I take the example of a graphic designer. Indeed, indicating the date of creation will allow your reader to situate your work. The possible collaborations on the project.If it is a manual work or painting add the technique used.In other words, you must caption your work. It is important to know that if the person who looks at your work does not know what they are looking at, they will not remember it. ![]() Displays set for interaction or passive reception should not deceive the oneiric relationship, which is defined in our research not only by the aesthetics qualities of an image but also by the body posture in the virtual environment.When it comes to your achievements, you should only present the best and not only concrete projects! I'm not talking about bringing out your childhood drawings! But rather personal projects that you realize, for example illustrations, photography, sculpture. The computer-generated images have to awaken one’s imaginary by means of the intrinsic and extrinsic structures of their movement and their aesthetic and plastic qualities, establish a Poietic of gaze and eventually give rise to a state of indiscernibility. In fact, the aesthetic of the indiscernible must be the result of Poietics of the indiscernible based on creative conversion, which is the essential principle of the studied oneiric phenomena. On the one hand, the latter deals with the creation process of a range of digital animations and a virtual matter intended for a real time interactive experience, and the apparatus for putting spectators through them on the other. This investigation step represents the theoretical basis from which practical issues related to our artistic approach have been hinged. ![]() Furthermore, dreaming, taken as a model reference for the establishment of an oneiric experience, allowed us to assess the necessary and sufficient conditions for triggering a state of indiscernibility that had to be, however, completed by cybernetic theories specialized in this matter. A detailed analysis of dreaming, hallucination, imagination and perceptual illusions phenomena based on a transdisciplinary research linking science (neuroscience, cognitive psychology, oculometry) and phenomenology, reveals different challenging regimes putting at stake both an immersive consciousness and a sense of presence in their causal link to the aesthetic of the indiscernible proper to oneiric images. In our research-creation, it designates a singular state of consciousness and a set of aesthetic qualities of an image. Poietics of the indiscernible is an aesthetic approach to perceptual and imaginary modalities deployed in relationship to virtual and oneiric environments. ![]()
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