#digipub

[sitting-on-me-bum]

A red panda standing on its hind legs and extending its claws may look cute, but it's actually a threat behavior.

DigiPub / Getty Images

[tara-review]

So far on tara, review:

This blog started as purely just a school requirement, but as I look and read the first entry, I felt like it would only be proper to continue doing this. I know this will help me enhance my writing skills while involving the thing I enjoy the most: music. Though I haven’t posted anything that followed my first blog post, I’ll start posting more song and album reviews especially now that there will be a lot of new releases.

The name “tara, review” came from something you would usually hear from a student. I think it’s only fitting for me as I am still a student and I have a lot of opinions when it comes to music I listen to; a music review, if you will. The content came first before thinking of a blog name, actually. I had to think of what I would want to write about throughout the whole term, and when I set my eyes to song and album reviews, that’s when the blog name came to me. I made the blog design close to my theme as much as possible and I think a Spotify-themed blog was the most fitting to the contents.

As we end our Midterms, there are three posts (including this one) in the blog. My goal is that before Finals, I should have at least 5 posts up. I’m looking forward to how this blog will grow as well as the content I’ll write in the future.

[zeky-png001]

COLOR SCHEMES

Color Theory is comprised of six tertiary colors (red-orange, yellow-orange, blue-green, blue-violet, and red-violet), three primary colors (red, yellow, and blue), and three secondary colors (orange, green, and violet)

The Activity is all about the outputs of our Activity regarding the Color Schemes.

MONOCHROMATIC COLOR SCHEME "PATTERNLESS"

- uses colors that are elegant such as beige, pastel pink, and white.

- use calm colors that brings the mood.

- accentuates the simplicity of the colors; match with its surroundings.

- a type of monochromatic color scheme.

ANALOGOUS COLOR SCHEME "FIRE UNDER"

- uses colors ranging from yellow, orange to red

- the vibrancy of its color are well-balanced

- the amount of color used gives a dominant look

- a type of analogous color scheme

COMPLEMENTARY COLOR SCHEME "UBE" Uses a very hard to imagine color Also it could use in graphic designs. Color coordinates the intensity of two opposite color. A type of complementary color scheme.

WARM COLORS "SPARKY"

uses colors from yellowish to warm red

the likeness of color is bright 

gives off the fiery look

a type of warm colors

COOL COLORS "ICY

uses colors like "snowy type"

colors descends that relax the mind

gives off the bubbly type

a type of cool colors

TRIAD "LOVELY

- uses colors transcends from purple, pink and light blue

- color combinations balanced the hue color in one place

- gives off an aesthetic look

- a type of triad

-Uses one hue which is the violet and  two complimentary color ranging from green and yellow.

-The color is bright but has a great tone of color way.

DOUBLE COMPLEMETARY/TETRADIC "UNION"

- uses colors that mid-separated such as red, blue, green and violet

- considered specified colors

- colors are well-combined that sets the spontaneous look

- a type of double complementary/tetradic scheme.

[zeky-png001]

Color Wheel

By: Ezekiel Ryan M. Delos Reyes

It is a abstract illustrative union of variety colors around a circle which shows the Relationship between essential, optional, tertiary tones and such. Through the variety wheel it is a gadget wherein the craftsmen fix or orchestrate the different variety began from Primary to optional variety by consolidating them. There are a great deal of variety framework yet for this blog/movement we really want to make RGB and CMYK variety wheel by utilizing adobe photoshop.

The RGB color system is represented by the first color wheel above. Red, Green, and Blue are the primary colors, and Cyan, Magenta, Yellow, and Black are the secondary colors. I created this color wheel by first selecting the colors and then adjusting the hue, saturation, and brightness of the colors to create a perfect color wheel. This color system is used in image scanners, smartphones, and computers.

The CMYK color system is the second color wheel I created. Cyan, Magenta, Yellow, and Black are the primary colors, and Red, Green, and Blue are the secondary colors. I created this color wheel using the RGB process, selecting and adjusting the hue, saturation, and brightness of the colors. The CMYK color system is essential in the printing industry. The color wheel is a useful tool for artists because it shows the relationships between the colors. In general, the way colors contrast with one another can be classified as analogous or complementary. Analogous colors are those that are close to each other on the color wheel and have similar tones. Complementary colors, on the other hand, are located across the wheel from each other. The complementary colors are as dissimilar as possible, creating a dissonant effect.

[giannthusblogging-blog]

Blog 103: Ang buhay ay parang gulong, makulay (Color Wheel).

In today’s blog, we will talk about RGB and CMYK Wheel. The activity was to recreate the Color Wheel in RGB and CMYK using Photoshop. Sir Ced gave us instruction on how we will do it. Before that, what is the difference of RGB and CMYK?

RGB Color Wheel stands for Red, Green and Blue. Any color can be made by mixing with this three colors. It is “Additive” color system, it is started from black then color is added.

A sample photo of RGB & CMYK. (Taken at the Digital Imaging PPT.)

CMYK Color Wheel stands for Cyan, Magenta, Yellow and Black. It is a “Subtrative” color system, it is started from white then color is subtracted.

I didn’t really had a hard time in doing RGB color wheel in photoshop, you will just use the hues (degree) starting at 0° (Red) then add it 30 to have Orange to be followed until you reach 330° to have Rose. This will be filled in the 3rd layer of the slice. The slices has 23 and has 5 layers, now let us do the outer layers the 4th and 5th layer. We will just use the brightness and saturation, set it in 100 to reveal the color, by using a color picker, click the color then as you clicked it you can already do the 4th layer of the Color Wheel, just minus the 100 (Brightness) to 60 and just leave the saturation at 100, to give you a dark shade of the color to be filled at the 4th layer then to be followed, same instruction minus the 100 to 30 and it will give you a darken shade of color to be filled at the 5th layer. Now, let us focus at the lower part of the layers, the second and first layer. First, click the color then minus the 100 to 60 (Saturation) that will give you a light shade of color to be filled at the 2nd layer, to be followed with the same instruction 100 to 30 then filled it at the 1st layer. This would be my final output for RGB Color Wheel.

As you can see, the colors are more focus on brightness and saturation. While in CMYK, it is more on hues and tints. This is my final output for CMYK Color Wheel.

To be honest, I did had a hard time doing this because it focuses on primary then secondary and tertiary colors that should be followed so that you won’t be confused of the process in doing it. Now, instead of changing HSB (Hues, Saturation and Brightness), we will change the CMYK values in the color picker dialog box. Let’s start the middle layers first which are pure hues. Start at the primary colors the Cyan, Magenta and Yellow.

Yellow: Y=100% C & M=0%

Magenta: M:100% C & Y=0%

Cyan: C=100% M & Y=0%

The secondary will lie between the two primary colors. While the tertiary colors  which are made by mixing two primary colors with 1:2 ratio meaning 100% : 50% ratio.

Orange: Y=100%, M=50%, C,K=0% (between Red and Yellow)

Chartreuse: Y=100%, C=50%, M,K=0% (between Yellow and Green)

Turquoise: C=100%, Y=50%, M,K=0% (between Green and Blue)

 Azure: C=100%, M=50%, Y,K=0% (between Cyan and Blue)

Violet: M=100%, C=50%, Y,K=10% (between Blue and Magenta)

Rose: M=100%, Y=50%, C,K=0% (between Magenta and Red)

Next, let us filled the outer layers the 4th and 5th layer. Click the color using the color picker then go to the CMYK Values, not touching the other values rather click the K then type the value to 30% for the 4th layer to give dark color then 60% for the 5th layer to give a darker color. Then focus on the inner layers, the 1st and 2nd layer. Click the color using the color picker, to have a light tint color just change the 100% of the color to 60% and the 50% to 30% this color value will be filled at the 2nd layer while the 1st layer change the 60% to 30% and 30% to 10% to have the color value in a lighter color. This instruction are to be followed.

This color wheel thought me to be patient because it will really test your patience but as you try to comply it and doing it precisely, it’s worth it. I get to be more interested about digital imaging and how to appreciate RGB and CMYK and also its use when we do lay-outing or graphic designs. I just can’t wait what DIGIPUB could teach me, as a creator this gives me tips and also lessons in dealing or doing a creative output. It is just like thinking out of the box and appreciating colors and their values.

[morpheme-publishing]

“In August 2017 we met with Adi Ignatius, Editor-in-Chief of Harvard Business Review. Ignatius shared an insider’s view into HBR’s “The Big Idea” programming -- how it’s designed to engage audiences in new ways for HBR. Access that interview here digipubpodcast.com” - Susan Brown

As a co-founder of the Harvard Digital Publishing Collaborative, I’m excited to share that Season One of the Collaborative’s Podcast, “DigiPub,” dropped last week.

In August 2017 we met with Adi Ignatius, Editor-in-Chief of Harvard Business Review. Ignatius shared an insider’s view into HBR’s “The Big Idea” programming -- how it’s designed to engage audiences in new ways for HBR. Access that interview here digipubpodcast.com

To my ear, this conversation touches on four interlocking themes in emerging in educational publishing:

Storytelling Focus. With a periodic release of content on a single theme, “The Big Idea” grows its audience around its provocative programming (e.g., “Rebel Talent,” “Loneliness at Work”). New content pushes regularly over a few weeks, giving the audience space and time to absorb the story. Instructional designers similarly author engaging, coherent, and relevant learning experiences. In education, we talk about developing “learning experiences”: coherent learning pathways (or programs).

Audience Engagement. Ignatius describes the death of the author-publisher echo chamber: successful publication platforms design for audience engagement. Educational theory has long held learner engagement a key cornerstone to educational success. Educational publishers often design products to encourage instructor-learner and learner-learner interaction. Is there more to offer? What value can educational publishers bring by enabling a direct dialog between author and learner?

Experimentation. One of the coolest things to hear in this interview is Ignatius’ embrace of iterative design. Expanding its audience requires putting HBR’s footprint into more (and sometimes unfamiliar) content channels, and learning from that experiment. One lesson learned: the audience for tried-and true forms of content delivery (in this case, long-form journalism) exists and persists. The challenge for publishers is to find creative ways to engage that audience. Experimentation has become a fact of life in educational publishing. Strong content management architecture recognizes the need for agile, responsive, collaborative solutions for content delivery -- and audience response.

Co-Creation. Ignatius envisions HBR as a distribution platform enabling content creators to connect and engage with curated audiences. Finding “willing partners” for this model presents HBR with challenges, as authors preference print to digital. (Ignatius doesn’t elaborate on this preference; could it be that credentialing institutions preference print to digital?) Content managers working in educational publishing add value to the contributions of “willing partners” through content curation.

Take a listen, and tell us what you think about this conversation with Adi Ignatius.

Link to all Digi*Pub Podcasts here: digipubpodcast.com

Email us at: [email protected]

A collaboration with John Cashman, Denis Saulnier, Sue Brown, Laura Linnaeus, and John Corkery, the Harvard Digital Publishing Collaborative podcast explores content and its relationship to channels, audiences, and communities. We interview strategists in the digital publishing space and relate their leading-edge visioning to our work days as content managers, educational publishers, and instructional designers.

[barnyardgroup]

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