Critically evaluate the impact of social media on the business world Essay - 1

Critically evaluate the impact of social media on the business world and our life - Essay Example This has made social media have a great impact on the business world and our individual life. Within the corporate world, social media is gaining popularity where it is being used in regular operations of many companies; this is mainly because it provides a perfect opportunity to take advantage of the world of the mouth, where people are connected on a global scale. Corporate messages on social media channels to reach new customers are conveyed, this is done through broadcast of positive feedback regarding the corporate message and its products. With this message, social media ensure that customers are retained hence building a positive customer loyalty. Additionally, dissatisfied customers are also reached directly within their own social media environment where the company embarks on finding better and more innovative ways of improving the product or service that they offer in the market outside (Bakardjieva and Gaden, 2011). Social media are relatively low-cost channels, which a company can use to market and advertise its products to millions of consumers. A good example is using Facebook a company just need to create a page within it where people shall need to like the page and have information which the company intends them to get in their computers, tablets or even phone. This has seen companies have million likes, which means more people are embracing this platform making the company enjoy cheap advertising platform. Social media also acts as a customer relation management too, mainly for companies which are selling products and services. Brand networking has become a way to capitalize on social trends, which is also a rich marketing tool. A company can maximize its return on marketing dollars by reaching out to potential customers via social media than making reliance on the high cost televised advertisement. Social media also allows a company to listen to a competitor message. Alternatively, this makes the listening company have strategies and

Discuss the role of emotion in psychology Essay Example for Free

Discuss the role of emotion in psychology Essay Emotion is often the greatest cause for either enhanced recall or impaired recall. Through many studies psychologists have found that it is not only facts we store in our memory but the emotion surrounding them.  Flashbulb memories involve an enduring imprint of events surrounding an important incident, the memory is not the event itself but where you were and what you were doing when you heard about it. Sheingold and Tenney (1982) provided evidence to support the concept of flashbulb memories. Participants were asked about personal memories and found most had good memories for when they were told and who told them. They found the flashbulb memories were strong and remained consistent over time; however there is no way of checking the accuracy of these memories. As shown by Sheingold and Tenney, a flashbulb memorys characteristic involves consistency and has an unchanging nature and they also involve a high level of emotional arousal which leads to better recall of the event. However Wright (1993) found evidence that goes against this definition, the study involved looking at peoples memories of the Hillsborough football disaster in 1989, 5 moths after the event. It was found that most of the participants didnt report strong flashbulb memories; in fact many people had reconstructed their memories and had mixed their own with other peoples accounts. This evidence therefore goes against the idea that flashbulb memories remain consistent over time. On the other hand Conway (1994) suggested that the reason some studies dont support flashbulb memories is because the event wasnt significant to the individuals. Conway et al used Mrs Thatchers resignation as the basis for the creation of flashbulb memories. 11 months after 86% of the UK participants has a strong and consistent flashbulb memory compared to only 29% participants from other countries. This research suggests that flashbulb memories will only be strong if the event surrounding it is significant to the individual; the UK participants would have been more aware and connected to Mrs Thatchers resignation than participants from other countries. The role of emotion is memory can also cause impaired memory. Freud proposed the idea of repression; unwanted memories are pushed down into the unconscious mind so you forget them. Freud described this process as a way of the ego protecting itself from emotional conflict which is often the result of harsh experiences. Williams (1994) interviewed women who has been admitted to hospital on the grounds of sexual assault, 20years previously, (they were told the study was a follow up of medical care). Williams found that 38% of the women did not show any recall of being sexually abused and that 16% of the women that did, said that at one time they couldnt remember they had. This study therefore provides strong evidence to support the repression theory, a traumatic event was repressed and some couldnt recall it even 20 years later. Repressed memories are defined as a traumatic event placed beyond conscious awareness. Because of this placement, these memories can also affect conscious thought. Forgetting a traumatic event, like Williams (1994) research, has also been studied through case studies. One of the most famous is Bavers (1981) study on sirhan sirhan, the man who shot Robert Kennedy, who has no recall of doing so. In this case the emotions of regret and shame were probably the cause of the repression and the reason he cannot remember what he did. It has also been suggested that repressed memories can also cause anxiety and disordered behaviour. A study that supports this concept was carried out by Karon and Widener (1997) who found that once trauma was recalled in therapy, mental illness in World War 2 veterans completely alleviated, therefore supporting Freuds theory. However Loftus and Pickrell (1995) found evidence against Frueds repression theory. The study was called lost in the mall and the false memory of getting lost in a shopping centre as a child was implanted into the participants. After the debriefing 20% still held to their belief that this happened to them, even though it was a false memory showing trauma has a great affect on memory even though the memory was false but going against Frued as the memory wasnt real. Another study by Loftus and Palmer created a theory called the Weapon effect this was during a highly emotional event such as a robbery or assault, an eye witnesses recall was altered due to their focus on a weapon being used. Finally a depressive state also has an influence on memory. Negative emotions often create a negative recall bias which makes depressed people only focus on negative and unhappy experiences; a mood dependent memory. Lyketsos (2001) found in support of this that depression may lead people to be inattentive and so they dont encode new memories into the long term memory well, therefore recall is much poorer. In further support of this Antikainen et al (2001) studied 174 depressed patients and found they performed better on memory tasks and had fewer memory problems after 6 months treatment. In conclusion emotion plays an important role in memory. It can often lead to enhanced memory, such as flashbulb memories, or impaired memory such as the repression of traumatic experiences. Negative emotion is also responsible for a lack of memory such as when someone is depressed. Overall memories are largely influenced by emotion the more positive we are the more likely we are to recall, the more negative the less likely we will recall and are more likely to forget.

The Role of Music During and After Puerto Rican Migration to the United

The Role of Music During and After Puerto Rican Migration to the United States For Puerto Ricans, music served infinite purposes. It allowed for the formation and reformation of cultural views and opinions, through the lyrics in the songs. These views were constantly changing, which in turn fed into the ever evolving identity of the Puerto Rican people. As a vehicle of expression it stimulated thought and provided a method of communication for the community. In The Puerto Rican community of New York City the increasing popularity of music indicated a desire for Puerto Rican based and oriented entertainment but more importantly for national unity. For the musicians themselves music served as an outlet for creativity while doubling as a secondary source of economic growth. In Puerto Rico music became the major avenue for social acceleration. Musicians on both the island and the mainland looked to music as a career choice that would eventually lead to amassed wealth. This opinion, however, was not universal as the upper classes saw music as simply a hobby. â€Å"The white and more affluent populations... did not see music as a step up the social or economic ladder† (Glasser 32). Many musicians migrated to the mainland in search of a musical career that would reap fame and fortune. â€Å"For blacks and mulattos from an impoverished background, music could be a means of upward mobility† (31). Within the confines of their economical situation there was a dire necessity for improvement that was readily available in the music industry or so they thought. Unfortunately the will and desire of the people did not suffice in a society where the mere color of the skin automatically closed many doors. This aspect of American soc... ...an era. For the Puerto Rican community music created an outlet for their pain and sorrow as seen in Lamento Borincano. Also it established a much needed nationally recognized identity based on a common culture as opposed to the pigmentation of the skin. Glasser’s loose interpretation of race channeled the readers attention more onto the issue of race and what it should mean. For Glasser race is equated with color. Although I disagree with the statement, it is a viable one. The ambiguity of the word creates the problem. Her inconsistency with her terms shows a lack of preparation. This problem could have been easily remedied with a brief explanation of the terms used and her stance on the issue. Bibliography Glasser, Ruth. My Music is my Flag: Puerto Rican Musicians and their New York Communities 1917-1940. (University of California Press: Berkeley, 1995).

Should Recycling Be Required by Law?

PRO MANDATORY RECYCLING * â€Å"Recycling is so beneficial for our planet that it should definitely be required. In an ideal world, everyone would voluntarily recycle, but let's face it: That's never going to happen. It makes me so angry when I watch students in my school throw their plastic water bottles in the trash can when there is a recycling can right next to it! * â€Å"Nearly 70 million tons of material are kept away from landfills each year thanks to recycling, according to the National Recycling Coalition. â€Å"If we have just 30 percent of the population recycling, we'd reduce greenhouse gas emissions as much as if we removed 25 million cars from the road! Imagine how many greenhouse gas emissions we could get rid of if everyone recycled. * â€Å"It's so easy to recycle, and if more people do it, then it becomes more cost-effective. Some people against mandatory recycling say that it's costly, but recycling is a less expensive process if more people are involved.In fa ct, two years after New York City decided that mandatory recycling was a drain on the city — costing $40 million — they discovered that a redesigned, more efficient recycling system could actually save the city $20 million! New York City has now signed a 20-year recycling contract. * â€Å"We need to get more cities and states on board with mandatory recycling. In addition to helping the environment, recycling programs help stimulate the economy by creating more jobs. The benefits of mandatory recycling far outweigh the drawbacks, and it's up to you, CosmoGIRL! eaders, to get your cities on board! Write to your local official and let her or him know how you feel about mandatory recycling. Your actions can make all the difference! † —Laura Carusco, 18, New York City, NY ANTI MANDATORY RECYCLING * â€Å"Mandatory recycling is one of the newest fads in the ‘go green' movement. But what you may not realize is that it's also one of the most costly and w asteful activities to infiltrate America. * â€Å"Contrary to what most people think, recycling does not save irreplaceable sources. Take a look at the current prices for everyday items, like paper.According to the concept of supply and demand, since the price is so cheap, there must be a large supply that backs it up. For example, a pack of notebook paper ranges from just 20 cents to 50 cents. If we were at risk of running out of trees, the price would be much higher. * â€Å"Also, by using less of one resource, we are inevitably using more of others. Daniel K. Benjamin, senior associate of the Property and Environment Research Center, stated in a report that â€Å"on average, curbside recycling is 35 to 55 percent more costly nationwide than conventional disposal. Benjamin goes on to say that in Seattle, where the council decided to make recycling mandatory, they are wasting resources by charging too much for trash pickup and not charging enough for recycling pickup. Also, thin k about all of the extra pollution caused by the recycling pickup trucks! It's like having a garbage truck come through twice a week instead of just once. * â€Å"It's also a misconception that we're running out of room in our landfills. There is enough room just in America to last us for years, and we can always add landfills.Another misconception is that our trash is harmful, but according to the Environmental Protection Agency, a cancer-related death due to modern landfills only occurs about once every 50 years. Cancer causes over half a million deaths a year in the United States alone, so one cancer-related death every 50 years doesn't even compare. * â€Å"Although voluntary recycling has its benefits, it is completely unnecessary and wasteful to make it mandatory. † —Aliza Sajjad, 18, Concord, CA

McCarty v. Pheasant Run , Inc.

Summary of CaseMrs. Dula McCarty brought suit against Pheasant Run Inc. for negligence. In 1981, Mrs. McCarty was attacked by a man in her hotel room, beaten and threatened of rape. Mrs. McCarty ultimately fought off her attacker and he fled. The attacker was never identified nor brought to justice. Although Mrs. McCarty did not sustain serious physical injuries, she claimed the incident caused prolonged emotional distress which led to an early retirement. An investigation revealed that a sliding glass door, which was concealed behind curtains, was manipulated and enabled the attacker to gain entry into her hotel room. Mrs. McCarty made multiple claims of negligence against Pheasant Run Inc., including that they should have had better locking devices on the sliding door; more security personnel; the walkway to her sliding door inaccessible from the ground level; better over all procedures for dealing with non guests; posting signs telling guests to keep their doors locked at all time s. Ultimately, the court did not see it Mrs. McCarty’s way. McCarty argued the judge should have granted her motion for judgment notwithstanding the jury’s verdict for the defendant.McCarty did not request the directed verdict on the issue of Pheasant Runs negligence which is a prerequisite to judgment n.o.v. Many accidents are neither the injurer nor the victims fault and therefore there is no liability. The judge advised Mrs. McCarty that the case was not as one sided as she believed it to be. Additionally, following a jury’s verdict, a judge cannot substitute its judgment when the judgment was reasonable (2). Mrs. McCarty did a poor job in proving that Pheasant Run could have prevented her attack with her advised precautions.Mrs. McCarty did not provide information of what it would cost Pheasant Run to equip the hotel rooms with improved locking systems and whether the system would have been impenetrable. She also failed to advise the jury on the additional s ecurity forces she claimed would have made a difference. In regards to the Mrs. McCarty’s sliding door, it was equipped with a lock and an additional safety chain. The safety chain was fastened but the lock was not used. This case  had evidence of negligence but none of strict liability. There were reasonable precautions in place. Elements of Intentional TortTort law enables citizens to seek reimbursement for loss and or suffering from conduct that would be deemed dangerous or unreasonable of others (3). Tort law is non criminal and is dealt with in our civil judicial system. The categories of Tort Law include intentional tort, negligence and strict liability.An intentional tort case is proved by the plaintiff showing that the defendant intentionally injured him/her (1). In a negligence case, the plaintiff shows that the defendant did not act carefully as the law requires and therefore should be liable for any damages to the plaintiff (1). The strict liability cases occur w hen a plaintiff suffers damages even though the defendant acted carefully and with no intent of harm being done to them (1).During a trial the plaintiff will attempt to prove their case by the presentation of evidence to the trier of fact. The evidence usually includes testimony of persons involved; witnesses as well as physical things such as pictures, documentation/records, recordings etc†¦ How a Defense is TriggeredA common defense is that there was a superseding intervening cause which was the cause of the injury to the plaintiff. The plaintiff must then prove that the injury was a result of the tort committed by the defendant and not due to the progression of the prior cause. Another defense, regarding breach of duty, is that a plaintiff must show they have damage that is legally recognized. The plaintiff cannot claim they have suffered but cannot show damages.Proximate cause refers to the plaintiff being able to show that the damage and or injuries they sustained were a r esult of the tort they are suing for. An example would be the plaintiff’s nose was broke as a result of the defendant flailing his elbow’s amongst the crowd. Features in a Negligence ComplaintScenarios where people are injured as a result of an accident occur more frequently than those where people are injured due to malicious behavior. As a result, the law recognizes a duty to conform to a certain standard of conduct for the protection of others against unreasonable risk of harm. If there is a failure to conform which results in an injury, damage or loss, the injured party has a cause of action for negligence. Additionally, a court will utilize several ways to formulate the negligence standard.One of the more famous is the â€Å"Hand Formula† which determines whether the burden of precaution is less than the magnitude of the accident, if it occurs, multiplied by the probability of occurrence. In a negligence case, there are four elements that must be researched for a plaintiff to recover damages.These elements include: 1) did a defendant owe the plaintiff a duty to act in a certain way 2) did the defendant breach the duty by failing to act as well as the duty required 3) did the defendants conduct cause some harm 4) did the defendants conduct harm the plaintiff (1). If any of these elements are found to not be true then no cause of action in negligence is recognized. It is important to note that it is the responsibility of the plaintiff to prove that the defendant was negligent. There are some differences between negligence and other torts. When establishing negligence, the defendant has a â€Å"reasonable person† standard he/she must abide by.Compared to strict liability, a person has the absolute duty to make safe that which is the subject of the lawsuit (3). Negligence per se is another tort which differs from negligence. Regarding negligence per se, an act performed is shown to be in violation of state law or city ordinance. Ma lpractice is a form of negligence which takes form in a different field. It is coined â€Å"professional negligence† (3). A person is required to act as would a reasonably skilled, prudent, competent, and experienced member of their profession.

Definition and History of the Sapir-Whorf Hypothesis

Definition and History of the Sapir-Whorf Hypothesis The Sapir-Whorf hypothesis is the  linguistic theory that the semantic structure of a language shapes or limits the ways in which a speaker forms conceptions of the world. It came about in 1929. The theory is named after the American anthropological linguist Edward Sapir (1884–1939) and his student Benjamin Whorf (1897–1941). It is also known as the  theory of linguistic relativity, linguistic relativism, linguistic determinism, Whorfian hypothesis, and Whorfianism. History of the Theory The idea that a persons native language determines how he or she thinks was popular among behaviorists of the 1930s and on until cognitive psychology theories came about, beginning in the 1950s and increasing in influence in the 1960s. (Behaviorism taught that behavior is a result of external conditioning and doesnt take feelings, emotions, and thoughts into account as affecting behavior. Cognitive psychology studies mental processes such as creative thinking, problem-solving, and attention.) Author Lera Boroditsky gave some background on ideas about the connections between languages and thought: The question of whether languages shape the way we think goes back centuries; Charlemagne proclaimed that to have a second language is to have a second soul. But the idea went out of favor with scientists when  Noam Chomskys theories of language gained popularity in the 1960s and 70s. Dr. Chomsky proposed that there is a  universal grammar  for all human languages- essentially, that languages dont really differ from one another in significant ways....  (Lost in Translation. The Wall Street Journal, July 30, 2010) The Sapir-Whorf hypothesis was taught in courses through the early 1970s and had become widely accepted as truth, but then it fell out of favor. By the 1990s, the Sapir-Whorf hypothesis was left for dead, author Steven Pinker wrote. The cognitive revolution in psychology, which made the study of pure thought possible, and a number of studies showing meager effects of language on concepts, appeared to kill the concept in the 1990s... But recently it has been resurrected, and neo-Whorfianism is now an active research topic in  psycholinguistics. (The Stuff of Thought. Viking, 2007) Neo-Whorfianism is essentially a weaker version of the Sapir-Whorf hypothesis and says that language  influences  a speakers view of the world but does not inescapably determine it. The Theorys Flaws One big problem with the original Sapir-Whorf hypothesis stems from the idea that if a persons language has no word for a particular concept, then that person would not be able to understand that concept, which is untrue.  Language doesnt necessarily control humans ability to reason or have an emotional response to something or some idea. For example, take the German word  sturmfrei, which essentially is the feeling when you have the whole house to yourself because your parents or roommates are away. Just because English doesnt have a single word for the idea doesnt mean that Americans cant understand the concept. Theres also the chicken and egg problem with the theory. Languages, of course, are human creations, tools we invent and hone to suit our needs,  Boroditsky continued. Simply showing that speakers of different languages think differently doesnt tell us whether its language that shapes thought or the other way around.

10 Classification Essay Topics on Globalization

10 Classification Essay Topics on Globalization Welcome to our first guide, i.e. 10 facts for classification essay on globalization, where you would be looking at 10 facts related to globalization. These facts would become the founding stones of your writing. You’ll use them throughout your classification essay to endorse your content with more knowledge. So make sure you go through them quickly, as you can use them not only to create compelling topics related to globalization, but also expand on them to create full blown essays. As you might know that this manual for writing a classification essay on globalization is based on three guidelines. All of them should be read first before you start writing. We urge you not to skip or skim through the guidelines. Reading them thoroughly will ensure that you have actually composed a well-written classification essay on globalization. All of these guidelines would not only help you to write the essay quickly and effectively, but it will also help you to make it exemplary so your professor or instructor can admire your hard work. Here is what you’ll learn in our second and third guidelines, respectively: Our second guide, 20 classification essay topics on globalization, discusses 20 topics that are relevant to globalization. These topics allow you to start writing on any one of them. We have also provided a short sample essay that would become your best friend throughout the journey of writing your classification essay. Finally, we have discussed the how-to of the composition of classification essay in our third guide, Writing Guide for Classification Essay on Globalization, which is very informative and beneficial for you to read. By reading this guide, you will know the tips and techniques that can beautify your composition and make your essay sublime. With that said, here are the 10 facts on globalization that you need to know: Businesses and organizations have evolved into more productive and innovative firms. But how far can a firm really reach? According to experts, if a business or an organization starts having a global presence, an international influence or operates on an international level it is known as globalization. This is by far, the peak of the mountain for businesses and organizations. Microsoft is one of the greatest examples. According to a study, which was conducted on the rate of GDP aka gross domestic product, it was found that a 1% increase in globalization led to the GDP growth of 0.10-0.15% which can be in billions of dollars. According to a research, conducted during the period of 1990 to 2012, it was concluded that the value of cross-border goods exchange increased drastically. In 1990, the flow of goods was about 6% of all global trade, whereas in 2012, it was about 24%. Do you know why Chinese currency is so undervalued? Youll be shocked to read this but its a fact that the Chinese Government undervalues its currency willingly. In fact, they undervalue it by 40%. This is because it allows them to gain advantage over their foreign competitors, mainly the United States of America. The rivalry between Samsung and Apple is self-explainable. Globally, Samsung has thrived far more than Apple. Many American businesses have gone out-of-business due to this strategy that China plays. Silicon Valley is the place with the highest impact of foreign entrepreneurs. These entrepreneurs, who came from abroad, have founded more than 40% of technology and engineering start-ups in just 6 years i.e. from 2006 to 2012 making Silicon Valley the biggest home of entrepreneurs, most of whom are successful today. Singapore owns the more regional head offices than the entire world. If you exclude China from the picture then Singapore alone has more than half of all large foreign subsidiaries that emerge from Asia. Globalization started right after Cold War ended. People, from all around the world, mainly politicians and scholars, took notice that there is a high need for countries to make peace and unite. From there, the phenomenon, we call Globalization, was born as countries joined hand to exchange technology and improve quality of education. Internet has become the sensation for billions of people around the world. But it also become one of the biggest tools to unite the world together, what we originally call globalization. It not only affected societies, religions, cultures, but also improved the economy of countries who took part in it. In a 2013 study, it was found that international e-commerce scored more than $1.2 trillion sales, which is nearly 2% of the worlds GDP. Globalization has helped business gain traffic on the internet as well. For example, the website of NBA earned 54% of the traffic from international visitors. This is why most multinational companies prefer to invest in web localization, so they can reach potential audience that is almost as half of what they have reached in the United States. John Yunk, author of Beyond Borders: Web Globalization Strategies, has stated that for multi-national companies, their growth comes from the international traffic. According to a 25-page long white paper, Dreaming with BRICs: The Path to 2050, which came from Goldman Sachs, four countries can have a higher GDP than United States, United Kingdom, France, Italy, Japan and Germany. These countries are: Brazil, Russia, India and China (BRIC). The white paper shows that India has the highest chance to have the biggest GDP by 2040 and Brazil, China and Russia will follow that increment respectively. If that happens, it will cause the world to change dramatically. There you have it! We are certain that these 10 facts have helped you get familiar with what globalization really is and what it does to the world. Since we covered up the facts, it’s time we move onto the next guideline i.e. 20 classification essay topics on globalization. After that, we are going to discuss the how-to of classification essays in our third guide i.e. writing guide for classification essay on globalization, so without further ado, let’s head to the second guideline. References: Kerkel, L.   (2008):   Trade   and   Aid   Policies:   Their   Impact   on   Economic Development   in   Mozambique,   an   earlier version   of   the   paper   published   at   10 The Annual   Conference   on   Global   Economic (Conference   Proceedings,   authors: Pertti Haaparanta and Leena Kerkel) Rà ¼ttimann, B. 2007. Modeling Economic Globalization. A Post-Neoclassic View on Foreign Trade and Competition. Mà ¼nster: Verlagshaus Monsenstein und Vannerdat. Hirst, P., Thompson, G., Bromley, S. (2015). Globalization in question. John Wiley Sons. Scholte, J. A. (2005). Globalization: A critical introduction. Palgrave Macmillan. Beck, U. (2015). What is globalization?. John Wiley Sons. Hitt, M. A., Ireland, R. D., Hoskisson, R. E. (2012). Strategic management cases: competitiveness and globalization. Cengage Learning. Bhagwati, J. (2007). In defense of globalization: With a new afterword. Oxford University Press.

Femme Fatales and Film Noirs

Femme Fatales and Film Noirs Femme Fatales and Film Noirs Femme Fatales and Film Noirs By Maeve Maddox A freelancer who writes about film wants to know how to deal with two French terms used by filmmakers: If Im dealing with  more than one film, is it femmes fatale or femme fatales? And when it comes to multiple films of film noir, is it films noir or film noirs? Plus, given that the terms are French, should they be italicized? Note: Readers who are not film buffs may be unfamiliar with these terms as they are used in English. A femme fatale is an attractive and seductive woman. Film noir is a movie genre explained below. The terms are so common in English that they do not need to be italicized The expression femme fatale was in the language before it became a part of movie jargon. The earliest OED citation is from a US source dated 1879. On the Ngram Viewer, both terms, film noir and femme fatale, begin their rise in printed books in the 1940s. Film noir describes a category of gloomy movies that begins with The Maltese Falcon (1941) and ends with Touch of Evil (1958). The film noir genre breaks a previous Hollywood pattern that glorified home life, presented idealistic views of American government, and provided happy endings for the main characters. Film noir often depicts the criminal justice system as unfair, the police as corrupt, and the federal government as oppressive and threatening. According to a description at the Film Noir Studies site, women in film noir are of three kinds: the â€Å"marrying kind† who wants the hero to settle down and conform to societal norms, the nurturing woman, who is depicted as â€Å"dull, featureless, and unattainable,† and â€Å"the femme fatale.† The femme fatale is an independent, ambitious woman who rejects marriage, but who, in breaking free of the traditional male-female relationship, causes violent disruption in the lives of those around her. French in origin, the terms have been sufficiently Anglicized to form their plurals by adding -s: femme fatales (not â€Å"femmes fatales†) and film noirs (not â€Å"films noirs†). Some writers do form the plurals of these terms partially la franà §aise (by adding an -s to the noun), but the Ngram Viewer indicates that such writers are in the minority. Likewise, the terms are italicized on some Web sites, but the recommendation given in The Chicago Manual of Style is to use roman type for foreign words that have entries in English dictionaries. The official site of the Film Noir Foundation does not italicize â€Å"film noir.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Expressions category, check our popular posts, or choose a related post below:What Does [sic] Mean?Used To vs. Use ToWhen to use "an"

Course work Coursework Example | Topics and Well Written Essays - 750 words - 1

Course work - Coursework Example This report will delve into the contractual process and suggest the most suitable form of contract that will have both parties satisfied. The Institution of Civil Engineers (ICE) sought to manoeuvre this issue and develop a contract that is satisfactory to everyone (Broome, 1999, p3). The New Engineering Contract (NEC), also known as the NEC Engineering and Construction Contract, was their solution to this problem. This contract is an official system that seeks to guide individuals in the drafting of projects; both engineering and construction, to obtain tenders and the awarding of contracts (Forward, 2002, p7). This contract details the duties and responsibilities of the clients (employers) and the contractors (employees) during the progress of the project. A Works Information is also included in the NEC; this also includes the first Contract Data, client’s information, and the second Contract Data, contractors’ information (Institution of Civil Engineers 1995, p.6). NEC is an international standard that is adopted by several countries, notably the United Kingdom. Despite being internationally recognized, there are several reasons for choosing this contract. First and foremost, NEC emphasizes on developing mutual trust and co-operation for all parties involved in the contract. The risk involved in the project is collaborated and managed by all parties leading to efficient contract management practices (Broome, 1999, p19). It fosters good management of the work detailed in the contract. It does this by ensuring both parties are in good terms with one another. Secondly, NEC as a contract is applicable in all fields that involve contracts. It is applicable in construction, engineering, maintenance and consultancy contracts (Weddell & Weddell, 2006, p4). Furthermore, this contract has several payment options that cater for the clients and

Pharmaceuticals and Job Lock-Out Assignment Example | Topics and Well Written Essays - 1250 words

Pharmaceuticals and Job Lock-Out - Assignment Example Also, cost of health care is projected to rise from the current $2.1 trillion yearly to $4 trillion in the next 10 years (Callahan, 2008). These escalating costs are significant contributors to the rising number of uninsured people. Business entities are finding it difficult to cater for their employees’ health benefits. The current statistics show that about 61% of employers afford to pay for their employees insurance as compared to a decade ago which was about 70%. Also, employers that give their employees the health benefits are using co-payments and deductibles as a means of reducing their expenses thus forces employees to pay more. The uninsured lot that is about 15% is at a risk of both health-wise and financially. Nevertheless, the high health cost currently threatens everyone, even those in Medicaid and Medicare programs (Callahan, 2008). Hitherto, though there is great awareness among people on the risks of rising costs, this problem has not compelled the attention of the public, media or presidents with the pressure of the uninsured (this is true irrespective of the recent opinions polls showing its rising popularity). There are quite developments of strategies to achieve universal care, but not much has been done in cost control since it is implicitly unpopular. This is the case since by controlling the costs, it means others will have to give something up and agree to something different (Callahan, 2008). Pharmaceuticals play a major role in providing medical resources for cure, treatment and prevention. Patents rights and rights to intellectual property develop obstacles to competition and manipulate pricing. There are some recent policies that try to limit access to certain types of pharmaceuticals. One of such policy is proposed by the Obama administration. The policy restricts the range of insurance plan on the various drug classes. This proposed policy is receiving strong opposition from both drug companies and patient

Environmental Issue Essay Example | Topics and Well Written Essays - 1250 words

Environmental Issue - Essay Example Mr. Brown thinks problems like global warming, soil erosion, water shortage and population growth should be addressed first; whereas, Mr. Paarlberg argues that aids directed to the betterment of education, agriculture, infrastructure development etc. will be sufficient to address the problem. Parties to the effort are also a subject of disagreement. Paarlberg thinks developed countries especially the US should take the initiative; whereas, Brown thinks all the counties together should make an effort to solve the problems like water-soil crisis, global warming etc. (Easton, 2011). In some respect both of them are right; but Mr. Brown is more right. For a sustainable and long term solution to the problem of food shortage soil condition and water condition of a region must be improved and global warming must be harnessed on a long term basis by â€Å"restoration of forest, soils and aquifers†. Poverty must be eradicated and population must be stabilized. For the last two efforts developing countries can use some foreign aids (Easton, 2011). 2. Genetically Modified Foods Scientists have found out a way to transfer genes from one living organism to another and give bacteria, plants, animals etc. new features. When similar modification is done in our sources foods like grains, fruits, vegetables or live stocks we get Genetically Modified (GM) food. ... Mr. Coleman argues that to meet the growing demand of food GM food is a solution; whereas, Mr. McDonagh thinks that the problem lies in distribution, not in demand-supply. Mr. Coleman claims that production of GM food requires less chemical and water, whereas yield is higher. Mr. McDonagh completely disagrees and said that though there is an initial saving of cost, the cost of producing GM foods increases after few years and there in no significant increase in yield. Mr. Coleman tries to argue that farming of GM corps for a continuous period of 10 to 12 years has produced no adverse effect on environment and human being; therefore it is harmless. Where as Mr. McDonagh thinks this period is too short to draw any conclusion (Easton, 2011). It is hard to accept Mr. Coleman’s argument and even harder to consume GM foods. Until now there is no real food shortage in the world; only distribution must be improved greatly. Land- reform, social equality and cheaper credit will improve t he distribution of food. Another point is: production of GM food will make us dependent on few big corporate and there is no guarantee that they will help the poor. Moreover, playing with god’s creation and questioning his might is not good (Easton, 2011). 3. Organic Farming Organic farming refers to a practice that utilizes natural, non synthetic nutrient cycling process; almost exclude synthetic pesticides; and sustain or regenerate soil quality. The practice may include cover crops, manure, compost, crop rotation etc. (Easton, 2011). The topic of debate is: â€Å"Can organic farming feed the world?†. Ms. Catherine Badgley says yes and Mr. John J. Miller says no. Badgley claims that organic farming has enough potential to produce sufficient

Relationship LensEveryday Ethics Essay Example | Topics and Well Written Essays - 1000 words

Relationship LensEveryday Ethics - Essay Example This paper will use "Everyday Ethics" by Catharyn Baird as a guide to develop a personal ethical framework for the workplace. A number of ethical competencies need to be enhanced and developed in my profession. At the basic level it should involve anger management in order to avoid conflicts. Problems should be rectified in a smart and prudent manner. Further negative events in the workplace should be used as a stimulus to improve productivity and output. The ability of choosing how to live and work is called free will. We all decide on our own about how we will live our lives. Philosophers call this ability a gift of free will. The understanding of how to live our life is called self efficacy. This is another ethical competency that needs to be integrated in the workplace. As a professional I am answerable to the management, colleagues, and customers. I need to implement superior ethical principles which will assist in creating an efficient and effective work environment. In order to better handle our professional lives we should improve our self efficacy. Self efficacy is defined by Albert Bandura as an ability to handle different given types of performances. The people who have strong belief in their self efficacy will be ready to make choices in their lives according to the situation. They start believing that they are effective. With knowledge and learning our self efficacy can increase. In the event we find more satisfaction and we become effective ethical agents in our professional lives. Self efficacy helps to create superior relationships and associations with the stakeholders. Management, colleagues, and customers are the constituents to whom I am answerable. Workplace Integrity Integrity is about creating accountability and fairness in the workplace. This is accomplished through the pursuit of clear and precise objectives. I need to protect the information of the organization. It also means following honest and transparent procedures during work tasks and duties. Workplace Greatest Good The greatest good is achieved in the workplace by maintaining a balance between organizational interests and ethical dilemmas. I seek to create an ethical environment where the spirit of friendship, openness, and collaboration is promoted. Workplace Justice Justice inside the workplace should be implemented in a smart and prudent manner. It means that individuals should ensure that there is no discrimination or bias. As a professional, I seek to implement justice so that the work duties are distributed according to the skills and expertise of the workforce. Workplace Courage Workplace courage means that the employees should express their opinions and feedback in an open and constructive manner. I pursue these qualities in order to ensure the highest ethical and moral principles in the workplace. Future Perceptions and Career Different work situations can create cynicism in our minds and because of that self efficacy in our professional lives can become low. For example, if we are working in a manufacturing plant where we are only a part of system and not connected to our customers even in good times; we may start believing that we have no control over our economic lives. We feel

Impact of capital structure on financial performance of real estate Literature review

Impact of capital structure on financial performance of real estate listed on Chinese stock exchange - Literature review Example There should be a positive balance between the internal and external sources of funds for the firms to operate efficiently. The research paper is relevant for the study. It articulates the dependence of the overall performance of the company and the capital structure preferred by the real estate firms. Brendea, G 2014, Ownership Structure, Performance And Capital Structure Of Romanian Firms, Internal Auditing & Risk Management, 9, 4, pp. 1-9, Business Source Complete, EBSCOhost, viewed 23 February 2015 Brendea, 2014 affirms that the capital structure of a firm affects its performance. Capital structure relates to the ownership structure of most firms listed on the Chinese Stock Exchange. In cases of concentrated ownership among a few shareholders, there exist preferences of use of retained funds as the source of finance to debtors and equity, in that order. Firms adopt contracting more debt as a mechanism of controlling misuse of the firms’ funds by the managers. Managers prefer personal gains to the firms’ financial progress. Such designs of capital structure where shareholders resort to debt contraction help improve the profitability on most of the listed firms. Most firms prefer to obtain the finances from within themselves rather than from outside as outlined in the Pecking Order Theory. According to the theory, real estate firms in China reduce their dependence on borrowed money to fund their investments. Utilization of internal sources of funds results in an increase in profitability. The book is very relevant to the topic of study because it expounds on how equity as a capital affects the profit margins of the company. Iavorskyi, 2013 explains that several theories exist that explain how the capital structures affect the business in various real estate firms listed in the Chinese stock exchange. Modigliani and Miller propose that the owner and capital structure of a firm

Relationship LensEveryday Ethics Essay Example | Topics and Well Written Essays - 1000 words

Relationship LensEveryday Ethics - Essay Example This paper will use "Everyday Ethics" by Catharyn Baird as a guide to develop a personal ethical framework for the workplace. A number of ethical competencies need to be enhanced and developed in my profession. At the basic level it should involve anger management in order to avoid conflicts. Problems should be rectified in a smart and prudent manner. Further negative events in the workplace should be used as a stimulus to improve productivity and output. The ability of choosing how to live and work is called free will. We all decide on our own about how we will live our lives. Philosophers call this ability a gift of free will. The understanding of how to live our life is called self efficacy. This is another ethical competency that needs to be integrated in the workplace. As a professional I am answerable to the management, colleagues, and customers. I need to implement superior ethical principles which will assist in creating an efficient and effective work environment. In order to better handle our professional lives we should improve our self efficacy. Self efficacy is defined by Albert Bandura as an ability to handle different given types of performances. The people who have strong belief in their self efficacy will be ready to make choices in their lives according to the situation. They start believing that they are effective. With knowledge and learning our self efficacy can increase. In the event we find more satisfaction and we become effective ethical agents in our professional lives. Self efficacy helps to create superior relationships and associations with the stakeholders. Management, colleagues, and customers are the constituents to whom I am answerable. Workplace Integrity Integrity is about creating accountability and fairness in the workplace. This is accomplished through the pursuit of clear and precise objectives. I need to protect the information of the organization. It also means following honest and transparent procedures during work tasks and duties. Workplace Greatest Good The greatest good is achieved in the workplace by maintaining a balance between organizational interests and ethical dilemmas. I seek to create an ethical environment where the spirit of friendship, openness, and collaboration is promoted. Workplace Justice Justice inside the workplace should be implemented in a smart and prudent manner. It means that individuals should ensure that there is no discrimination or bias. As a professional, I seek to implement justice so that the work duties are distributed according to the skills and expertise of the workforce. Workplace Courage Workplace courage means that the employees should express their opinions and feedback in an open and constructive manner. I pursue these qualities in order to ensure the highest ethical and moral principles in the workplace. Future Perceptions and Career Different work situations can create cynicism in our minds and because of that self efficacy in our professional lives can become low. For example, if we are working in a manufacturing plant where we are only a part of system and not connected to our customers even in good times; we may start believing that we have no control over our economic lives. We feel

Jetblue Research Paper Example | Topics and Well Written Essays - 1250 words

Jetblue - Research Paper Example Some of the features underlying the Jet Blue Airline Company include satellite radio, television on every seat, and some in-flight entertainment (James, 2012). Jet blue airline also has an uncensored single-class system, outstanding flight attendants, a user friendly online air ticketing system, and an Airbus A320s. The airline has scooped awards for its outstanding performance over the years; it was awarded for being the best domestic airline by "Readers' Choice Award" commonly termed as the Conde Nast Traveler. Jet blue also won the "Highest Customer Satisfaction Among Low Cost Carriers in North America" award by J.D. Power and Associates' in 2008. The planes from JetBlue Airline Company connect over 80 destinations including; Bahamas, Las Vegas, West Palm Beach, San Juan, and Puerto Rico (James, 2012). The executive vice president of JetBlue’s systems and technology, John Eng revealed the plans of the airline company to disclose its modern workstation in New York at the Joh n F. Kennedy International Airport. A terminal that if launched would be the peak of one major technological project by the airline. At what is normally called terminal 5 at the John F. Kennedy International Airport, is comprised of 20 check-point security lanes, Wi-Fi all over the terminal and the planes, 65 e-ticketing kiosks and 40ticket counters, and self –service all over the terminal (James, 2012). The Jet Blue Company also broke up its contract with the Navitaire Company; a move which Navitaire claims is as a result of JetBlue’s misperception about the ability of the company’s functionality. According to Navitaire, it was providing JetBlue Company with an Open Skies platform. The Navitaire Company move to transit from the open Skies platform to New Skies system is one of the contributing factors that made JetBlue break their contract and sign a new contract with Sabre e-ticketing. The New Skies platform is designed to work with a ticketless model of which money is not attached to an individual ticket but to the customer record (James, 2012). However, Navitaire defends its ticketless New Skies as more effective and efficient than the Sabre e-ticket model since the New Skies can avoid the need of relocating data out and back among numerous systems. Despite of the new ticketing technology that allows for ticketless model that is attached to customer records, Jet Blue Airline chose to remain with their usual ticketing model with SabreSonic. Navitaire Company perceives Jet Blue’s luxity to adopt the new e-ticketing system that embraces a ticketless model, as a decision that has been influenced by having a team that has roots with the U.S legacy carriers (James, 2012). Navitaires states that JetBlue cannot understand the benefits that come with the new ticketless model. The benefits mentioned include; flexibility of services, reduced costs, and ticketing efficiencies. The Chief executive Officer (CEO) and president of JetBlue Airli ne, David Barger confirmed against Navitaires perceptions and stated that Sabre will provide his company with numerous benefits. Berger continues and says that the new platform adopted by Jet Blue provides the company with robust and flexible tools to increase the products and services rendered to their customers. The CEO adds on that the technological system will help in further augmenting the brand of the airline and advancing the general customer

Macbeth Paper on Evil Essay Example for Free

Macbeth Paper on Evil Essay Macbeth is a real tragedy written by William Shakespeare for what’s presented is a morally significant struggle, one that attempts to engage our sympathies and understanding. In this dark and powerful tragedy, Macbeth is a part of several murders, including the murder of King Duncan of Scotland. Macbeth performs these murders after he encounters the weird sisters and hears the prophecy that he will one day become the King of Scotland. But although Macbeth was the one that was directly involved in every murder, there are other influences that have an impact on his pursue for the crown of Scotland and could be responsible for the evil done in the play. When Lady Macbeth first hears about the prophecy of the witches, she immediately plans Duncan’s murder because of her ambition for her husband to become king. The weird sisters, also known as the three witches, initiates the murders because they prompt Macbeth to murder Duncan with their prophecies that Macbeth will one day become the King of Scotland. But ultimately, Macbeth is the villain of this tragedy in view of the fact that he is accountable for the murder of Duncan and also orders his subordinates to murder Banquo and the family of Macduff. Macbeth is most responsible for the evil done in the play owing to the fact that his killing of Duncan provokes the other murders and evil in the play. Although Lady Macbeth is a part of the murders that occur in Macbeth, she is not responsible for the evil done in the play. Lady Macbeth is a very cunning, manipulative character. When she hears about the witches’ prophecy of Macbeth becoming the future king of Scotland, she immediately demands Macbeth to murder Duncan so Macbeth could become king. Lady Macbeth successfully persuades him to kill Duncan by questioning his masculinity. Lady Macbeth puts the idea in Macbeth’s mind that he will be a coward if he does not commit the murder. After persuading him, Macbeth finally commits the murder. Therefore, Lady Macbeth is evil for she pressures Macbeth into killing Duncan. But, she is not responsible for the evil done in the play. Although she is a strong, significant figure in the murder of Duncan, she begins to change through the play as she starts to feel the guilt and remorse for persuading Macbeth to kill Duncan. She ultimately kills herself because she couldn’t manage the guilt and grief for her involvement in the murder and seeing her husband turn into an evil, uncontrollable villain. Therefore, she is not responsible for the evil done in the play because although she persuades Macbeth to kill Duncan, she later feels guilt for what she’s done. The three witches are also not responsible for the evil done in the play. In the beginning, the three witches tells Macbeth his prophesy that he will one day become the king of Scotland. When Lady Macbeth hears about the prophecy, all she thinks about is her husband becoming king. So, Lady Macbeth convinces Macbeth to kill Duncan in order for Macbeth to become king as soon as possible. If the three witches never told Macbeth the prophesy of him becoming king, none of the murders would have happened. Therefore, without the witches, there would be no evil in the play. But, the three witches are not responsible for the evil done in the play because even though they incite Macbeth and Lady Macbeth’s desire for king, it was Macbeth who ultimately decides to murder Duncan, which causes the rest of the evil done in the play. Macbeth is responsible for the evil done in the play. Macbeth is more evil than the other characters because he is the reason why all of the murders in the play occur. He murders Duncan because of his evil desire to become the king of Scotland as soon as possible. â€Å"Stars, hide your fires; Let not light see my black and deep desires.† (I, Scene 4, lines 57-58) This quote shows Macbeth’s great desire to become king and also shows how he is aware that his thoughts are evil. But, he does not do anything to keep himself away from these dark thoughts and he eventually commits the evil murder. The murder is certainly avoidable, but he let Lady Macbeth influence him. â€Å"This night’s great business†¦ sway and masterdom.† (I, Scene 5, Lines 80-82) This quote shows how Lady Macbeth has total control over Macbeth and how Macbeth put the power into Lady Macbeth’s hands. Macbeth could have told Lady Macbeth to stop her plans, but instead he gives all the power to her and eventually agrees with her. Therefore, the murder of Duncan is completely his fault because he lets Lady Macbeth influence him and commit the murder himself. Macbeth is also responsible for the other murders in the play because he hires three murderers to kill Banquo and orders his servants to kill Macduff’s family. Consequently, Macbeth is responsible for the evil done in the play because he involves himself in all of the murders in the play. Macbeth is accountable for the evil done in Macbeth because his murder of Duncan causes a chain reaction and brings about the rest of the evil in the play. Although Lady Macbeth has a notable influence on Macbeth to commit the murder of Duncan, it was ultimately his decision to kill Duncan and order the other murders. The Three Witches incites Macbeth and Lady Macbeth’s desire for the throne of Scotland, but Macbeth’s decision to commit the murders ultimately brought darkness and fear onto Scotland. Macbeth is responsible for Duncan’s death, and that murder causes a chain reaction and incites the other murders. If he did not murder Duncan, there would not have been any evil in this play to start with. Ultimately, Macbeth compels to arise these evils, and it is his greed to blame. Macbeth is already known as a man of integrity for being appointed as the Thane of Cawdor, but his greed and avarice brings about the evil that he carries out. This relates to human nature because even if a man has everything to gratify his needs, his greed can demand for more, leading to trouble just like Macbeth. This demonstrates that if you only care about your own needs and always ask for more, you will be unsuccessful. As Mohandas Karamchand Gandhi once said, â€Å"Earth provides enough to satisfy every man’s needs, but not every man’s greed.† [Word Count: 1057]

The different types of video modeling

The different types of video modeling Video modeling is an evidence based practice used to teach a variety of socially relevant behaviors for children with Autism. Many times children with Autism are visual thinkers and learners. They learn best when information is presented to them visually rather than orally. Using video modeling, the children are provided with a visual model of a peer, adult, or themselves engaging in the targeted behavior they are expected to learn. After watching the video several times, the children are provided with an opportunity to imitate and generalize the behavior observed on the video. A number of studies have shown that video modeling increases play conversations between children with Autism and adults and peers. Since children with Autism struggle with social skills, it is beneficial to teach them to initiate play with others. Video modeling produces faster acquisition of the behavior and greater generalization in children with Autism than live modeling and without the use of reinforcements or prompting. Studies have confirmed that with video modeling, verbalization and play actions was maintained over time. Video modeling can be implemented from early childhood to adulthood and taught by professionals and parents in a variety of settings. It can be used in the classroom and at home by the parents to teach new skills the child needs to be successful. A benefit of using video modeling is that it allows for parents, teachers, and people collaborating with the child to use the same method to teach targeted skills. It is difficult to learn and master a skill if the child is practicing different ways with different people. Because children with Autism have difficulties generalizing it is important to work together to teach targeted skills the same way. Video modeling allows for caregivers to do this. By everyone working together the child can learn the initial skill quicker and then work on generalization systematically. The child will experience success when everyone is working together, using the same video, and teaching the same skill the same way. Video modeling procedures have been used successfully to teach a variety of adaptive behaviors such as social, play, self care, and academic skills. Types of Video Modeling There are several types of video modeling that are used with children with Autism. The most common types of video modeling include basic video modeling, video self-modeling, point-of-view video modeling, and video prompting. Basic modeling involves recording either an adult or a peer modeling the targeted skill. The child watches this video at a later time. Video self-modeling records the child with Autism displaying the targeted skill. The child then watches themselves in the video at a later time. The point-of-view video modeling shows a video recorded from the perspective of the child with Autism. Video prompting is used when teaching a step by step skill. It is recorded by breaking the targeted skill into steps and pausing after steps to give the child with Autism an opportunity to practice each step. Many studies have found great success when combining models. Research A study by Macdonald (2009) evaluated the effects of video modeling has in teaching children with Autism to engage in reciprocal pretend play with their peers without disabilities. The play included verbal interactions and cooperative play. The study consisted of two pairs of children, one with Autism and a peer without Autism. The pair was shown a video consisting of two adults acting out the sequence of pretend play. The children were directed to play and their responses, actions, and verbalizations were recorded. Both pairs demonstrated successful gains of play actions and increased verbalization between peers. The performance was maintained over time. The results of this study concluded that video modeling produced sequences of reciprocal pretend play between children with Autism and their peers without Autism. In this study, video modeling was an efficient strategy for teaching cooperative play. The appropriate play skills were gained with short exposure of the video and in the absence of reinforcements and prompting. A study conducted by Allen et al. (2010) examined the effects video modeling had on teaching vocational skills to four young men with Autism. The participantsà ¢Ã¢â€š ¬Ã¢â€ž ¢ ages ranged from 16-25 years old. Video modeling was used to teach the four adolescents to wear a WalkAround Mascot costume and entertain the customers in a store. The video for the training showed a mascot performing in a scripted and naturalistic setting. The participants watched the video twice and were then taken to the store to imitate for 10 minutes the behavior seen in the video. According to the results of this study, all participants learned to use the vocational skills after watching the video model. The young men enjoyed the experiment and reported they would be interested in continuing to perform at the store when the experiment would be over. Allen (2010) states à ¢Ã¢â€š ¬Ã…“video modeling was an effective way to teach adolescents and young adults with ASDs to perform a vocational task in a soc ial settingà ¢Ã¢â€š ¬Ã‚ . A study designed by Nikopoulos and Keenan (2007) was conducted to evaluate the effectiveness of video modeling on building sequences of social behaviors. The study included three boys with Autism from the ages of 6.5-7 years old. The boys were given common objects that included a ball, a table, two rags, a vacuum cleaner, a plant pot, and a jacket. These objects were selected because of familiarization and to avoid instructions of using the objects appropriately. The participants were shown the video and data was collected after 5 minutes by observing behaviors in the areas of social initiation, reciprocal play, imitative responses, and object engagement. The study data suggest that the participants were successful in building a sequence of social behaviors. All of the students performed the activities in the same sequence as presented in the video. The participantà ¢Ã¢â€š ¬Ã¢â€ž ¢s showed generalization across peers and the appropriate behaviors were maintained after the 2 month fo llow up period. Research proved that video modeling was successful for children with Autism in this study. In the presented studies, video modeling has proven to be effective on children and adolescent with Autism. Results from these studies have demonstrated success across different settings and with the application of different skills. The results have also indicated that video modeling teaches skills at a rapid pace and with short exposure to the videos. In conclusion, video modeling procedures have been used to successfully teach many types of skills and behaviors in the areas of academics, social, self-care, daily living, community, vocational, and play. When used effectively research has shown to produce more rapid acquisition and greater generalization than live modeling. Video modeling has also shown that prompting and reinforcement are not necessary to help children acquire the targeted skill. Video modeling is a great tool because of the visually cued instruction that allows children with Autism to learn by observation.

A fair and public hearing by an independent and impartial tribunal: Doe

From the findings, it can be concluded that the results do support the hypothesis that mock jurors place a harsher sentence on the unattractive defendant in the manslaughter case. Whereas, it was not seen as significant on the unattractive defendant in the theft case, this finding is counterintuitive to the hypothesis however, one can speculate that being attractive may be more beneficial to those that are on trial for a serious crime. The implications here could be down to the serious consequences to the defendant’s life if they found guilty for manslaughter, when in actual fact it may not be entirely their fault. Whereas, with the theft case there was no doubt in the jurors mind that that individual was responsible for the consequences of their crime, due to being seen on Closed Circuit Television. With the legal system being highly complicated and complex, and with the limited knowledge the jurors hold about the system, maybe it is this that could explain that people we re more likely to place a lesser sentence on those in the manslaughter case. But this might not be the only reason for this difference, as the unattractive manslaughter-unattractive theft comparison did not yield significant results. As Baldwin and McConville (1979) pointed out that juries easily fall victim to stereotypes, manipulation and outside influences and fails in almost all of its goals, the results found here, and previous research further develops this theory. From the concerning results found, there is evidence that attractiveness does have an unwanted effect due to the internal biases of jurors. As a part of the study, participants were asked to answer short questions if they believed there was a criminal face and 10 out of the 32 participa... ...he did not commit. Retrieved January 3, 2012, from the.point.is: http://en.tpinews.com/2008/04/24/27-years-in-prison-for-a-crime-he-did-not-commit.html Tumonis, V. (2011). Persuasiveness of First Impressions: The Halo Effect . Retrieved January 21, 2012, from SwayCraft: http://www.swaycraft.com/421/persuasiveness-of-first-impressions-the-halo-effect/ United Nations. (1948). The Universal Declaration of Human Rights. Retrieved from United Nations: 3 Whittemore, K. E., & Ogloff, J. R. P. (1 995). Factors that influence jury decision making: Disposition instructions and mental state at the time of the trial. Law and Human Behavior. 1 9,283-303. Zakas, N. C. (2005, July 11). The Eye of the Beholder: Appearance Discrimination in the Workplace. Retrieved January 12, 2012, from nczonline: http://www.nczonline.net/downloads/AppearanceDiscriminationInTheWorkplace.pdf

Alias Tutorial

Learning Autodesk AliasStudio 2008 Level 1 A hands-on introduction to the key tools & techniques of Autodesk AliasStudio 73415-050000-5001A Copyright and trademarks AliasStudio 2008 documentation by: Pat Anderson, Marie-France Roy, Kerry Kingston and Damien Fleury  © Copyright 2002-2007 Autodesk, Inc. All rights reserved. This publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. AUTODESK, INC. MAKES NO WARRANTY, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDING THESE MATERIALS, AND MAKES SUCH MATERIALS AVAILABLE SOLELY ON AN â€Å"AS-IS† BASIS. IN NO EVENT SHALL AUTODESK, INC. , BE LIABLE TO ANYONE FOR SPECIAL, COLLATERAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES IN CONNECTION WITH OR ARISING OUT OF ACQUISITION OR USE OF THESE MATERIALS. THE SOLE AND EXCLUSIVE LIABILITY TO AUTODESK, INC. REGARDLESS OF THE FORM OF ACTION, SHALL NOT EXCEED THE PURCHASE PRICE, IF ANY, OF THE MATERIALS DESCRIBED HEREIN. Autodesk, Inc. , reserves the right to revise and improve its products as it sees fit. This publication describes the state of this product at the time of its publication, and may not reflect the product at all times in the future. Autodesk Trademarks The following are registered trademarks or trademarks of Autodesk, Inc. , in the USA and other countries: 3DEC (design/ logo), 3December, 3December. om, 3ds Max, ActiveShapes, Actrix, ADI, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Envision, Autodesk Insight, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backdraft, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Can You Imagine, Character Studio, Cinestream, Civi l 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Create>what's;Next; (design/logo), Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design|Studio (design/logo), Design Your World, Design Your World (design/logo), DWF, DWG, DWG (logo), DWG TrueConvert, DWG TrueView, DXF, EditDV, Education by Design, Extending the Design Team, FBX, Filmbox, FMDesktop, GDX Driver, Gmax, Heads-up Design, Heidi, HOOPS, HumanIK, idrop, iMOUT, Incinerator, IntroDV, Kaydara, Kaydara (design/logo), LocationLogic, Lustre, Maya, Mechanical Desktop, MotionBuilder, ObjectARX, ObjectDBX, Open Reality, PolarSnap, PortfolioWall, Powered with Autodesk Technology, Productstream, ProjectPoint, Reactor, RealDWG, Real-time Roto, Render Queue, Revit, Showcase, SketchBook, StudioTools, Topobase, Toxik, Visual, Visual Bridge, Visual Construction, Visual Drainage, Visual Hydro, Visual Landscape, Visual Roads, Visual Survey, Visual Syllabus, Visual Toolbox, Visual Tugboat, Visual LISP, Voice Reality, Volo, and Wiretap. The following a re registered trademarks or trademarks of Autodesk Canada Co. n the USA and/or Canada and other countries: Backburner, Discreet, Fire, Flame, Flint, Frost, Inferno, Multi-Master Editing, River, Smoke, Sparks, Stone, Wire. All other brand names, product names or trademarks belong to their respective holders. Third-Party Copyright Notices This product includes software developed by the Apache Software Foundation. Macromedia Shockwaveâ„ ¢ Player and Macromedia Flashâ„ ¢ Player software by Macromedia, Inc. , Copyright  © 1995-2000 Adobe Systems Incorporated. All rights reserved. Portions relating to JPEG Copyright  © 1991-1998 Thomas G. Lane. All rights reserved. This software is based in part on the work of the Independent JPEG Group. Portions relating to TIFF Copyright  © 1997-1998 Sam Leffler. Copyright  © 1991-1997 Silicon Graphics, Inc. All rights reserved. GOVERNMENT USE Use, duplication, or disclosure by the U. S. Government is subject to restrictions as set forth in FAR 12. 212 (Commercial Computer Software-Restricted Rights) and DFAR 227. 7202 (Rights in Technical Data and Computer Software), as applicable. Published By: Autodesk, Inc. 111 Mclnnis Parkway San Rafael, CA 94903, USA Documentation build date: April 3, 2007 iii GETTING HELP ON ALIASSTUDIO Welcome Autodesk provides you with a number of resources to aid you in becoming a proficient AliasStudio user. Finding help on AliasStudio features If: Try this You want information about installing AliasStudio Follow the on-screen instructions on the installation CD. For more detailed instructions, see the install. pdf file on the top level of the CD. You are new to AliasStudio ? Read Getting Started, the booklet included in the kit. ? Browse through the information on the main documentation page (index. html) ? Read the About†¦ section of the online documentation. If you prefer, you can print off the book full of this information, which is called AliasStudio Fundamentals. ? Work through these tutorials in Learning AliasStudio. These are basic lessons that will teach you about working in 3D in AliasStudio. They are also the prerequisite for more advanced AliasStudio courses. Use the How To†¦ section of the online documentation to learn how to perform specific operations within AliasStudio, like drawing curves, making four-sided surfaces, and using masks while painting. ? Visit www. autodesk. com/estore to find out about learning tools such as Learning Alias AliasStudio | Beginner’s Guide aimed at the novice user. You are upgrading from a previous version of StudioTools ? See the What’s New in AliasStudio document, available by selecting Help > What’s New in AliasStudio, or on the documentation CD as a PDF file. ? Look at the What’s New tab in the default sh elf provided with the application. iv You are looking for detailed nformation about a tool or feature ? Look in the â€Å"Tools and Menus† section of the online help ? Choose Help > What’s this and then click on the tool or menu item ? Use the right mouse button on the background of any option window to see help for that tool or operation. You want to learn new techniques for using AliasStudio ? See Learning AliasStudio 2008 ? See Technical Surfacing ? Visit www. autodesk. com/estore to find learning tools aimed at intermediate and advanced users. You want a PDF version of one of the manuals ? All of the manuals are provided in PDF format in the PDF directory on the documentation CD. You want to know what the eyboard shortcuts are in AliasStudio ? Choose Help > Keyboard shortcuts from within AliasStudio, or click Keyboard Shortcuts on the main online help page. You want a Quick Reference card ? Print the Quick Reference card file provided in the PDF directory on the do cumentation CD. v Finding AliasStudio training resources If†¦ Try this†¦ You want to obtain in-depth training ? See the learning materials and training courses available from www. autodesk. com/training You want to get tips and techniques from the experts at AliasStudio MasterClasses ? For events near you, see www. autodesk. com/training You want to create plug-ins for AliasStudio Use the AliasStudio Application Programmers’ Interface Manual to learn the object-oriented programming required to build plug-ins. You want information about becoming an Alias-certified instructor ? See the information at www. autodesk. com/training or contact us at [email  protected] com. vi Finding support for AliasStudio If†¦ Try this You are a Platinum member and want to access the Knowledgebase or Ask Autodesk ? Go to the AliasStudio support site at www. autodesk. com/ support You want to interat with other AliasStudio users ? Go to the online User-to-User Discussion forum on t he AliasStudio support site at www. autodesk. com/support You want answers to common roubleshooting questions ? See the FAQs (frequently asked questions) in the technical support section of the AliasStudio support website at www. autodesk. com/support. You want to license your software ? If you are a Platinum member and need a license, check the executable license file on the top of your installation CD. If your license isn’t there, go to www. autodesk. com/ spar and follow the instructions in the install. pdf file at the top of the AliasStudio CD. ? If you are a new customer, go to www. autodesk. com/opa to obtain a new license. You want customer or technical support ? Go to the webpage www. autodesk. com/support vii Working with AliasStudio If you create concept designs ? Read about our new concept design workflow ? Work through the modeling and rendering tutorials in Learning Studio If you build 3D models based on sketches ? Work through the modeling tutorials in Learning AliasStudio If you build 3D models for manufacture ? Read About Curves and About Modeling ? Work through the modeling tutorials in Learning Studio ? Check the community site for tips and tricks If you modify 3D models for manufacture ? Read AliasStudio Fundamentals ? Work through the Technical Surfacing tutorials. If you create rendered images ? Read About Rendering ? Work through the rendering tutorials in Learning Studio Check the community site for tips and tricks and downloadable shaders and backgrounds If you create animations ? Do the work in the â€Å"If you create rendered images† section ? Read About Animating ? Work through the animation tutorials in Learning Studio ? Check the community site for tips and tricks. viii ix CONTENTS Lear ning AliasStudio provides you with tutorials to learn the basics of modeling, rendering, and animating. All features are not available in all products or on all platforms; you may find your software does not support some of the capabilities described in this book to sketch, render, or animate. Getting help on AliasStudio iii Finding help on AliasStudio features iii Finding AliasStudio training resources v Finding support for AliasStudio vi Working with AliasStudio vii Contents ix Learning AliasStudio Tutorials 1 How to use this book 1 Interface Basics 5 Using Tools 11 Changing Your View of the Model 25 Understanding the object lister 33 Introduction to 3D 37 Part 1: Beginning a Model 38 Part 1: Creating 3D objects 41 Saving your work 45 Part 2: Building the lampstand 47 Part 3: Organizing the model 54 Part 4: Building the lampshade 58 Part 5: Assembling the desk lamp 65 Part 6: Posing the Lamp Model 68 Conclusion 70 Quiz 71 On your own 72 x Contents Quiz Answers 74 Modeling a Joystick 75 Introduction 75 Part 1: Creating the Joystick Handle 77 Part 2: Creating the Joystick Base 84 Part3: Creating the Flexible Sleeve 94 Part 4: Creating the connecting cable 99 Part 5: Assigning objects to layers 104 Part 6: Directly modifying surfaces 108 Part 7: Creating the button 120 Part 8: Visualizing the Model 123 Conclusion 126 Quiz 127 On Your Own 128 Quiz Answers 129 Modeling a Vacuum Cleaner 131 Part 1: Creating Primary Surfaces 133 Part 2: Intersecting and Trimming 139 Part 3: Surface Fillet 145 Part 4: Creating the Handle 152 Part 5: Air Vents 157 Part 6: Power Button 163 Part 7: Dust Bag and Cable Connector 171 Part 8: Completing the Model 180 Conclusion 183 Quiz 184 On Your Own 185 Quiz Answers 187 Modeling an MP3 Player 189 Introduction 191 Part 1: Creating the Casing Curves 192 Part 2: Creating the Side Surfaces 197 Part 3: Completing the Casing 202 Part 4: Creating the Screen Recess 209 Part 5: Centre Navigation Key 217 Part 6: Control Button 221 Part 7: Completing the Model 231 Quiz 236 On Your Own 237 Quiz Answers 239 Modeling a Sports Shower Gel Bottle 241 New Concepts 242 Part 1: Creating Primary Surfaces 243 Part 2: Creating the Finger Grip Contents xi 251 Part 3: Label Surface 256 Part 4: Adding Blend Details 261 Part 5: Embossed Logo Details 267 Part 6: Completing the Model 275 Quiz 280 On Your Own 281 Quiz Answers 283 An introduction to Rendering 285 Visualizing a PDA 289 Conclusion 296 Quiz 297 On Your Own 298 Quiz Answers 299 Shaders and Lights 301 Part 1: Creating Shaders 302 Part 2: Adding a Label 309 Part 3: Lighting the Scene 313 Part 4: Creating an Image 319 Quiz 322 On Your Own 323 Quiz Answers 325 More rendering 327 Part 1: Editing the Render Globals parameters 329 Part 2: Creating a background environment 333 Part 3: Creating a 3D solid texture 338 Part 4: Creating a 2D bump texture 341 Part 5: Raytracing 345 Conclusion 349 Quiz 350 On your own 351 Quiz Answers 352 Introduction to animating 353 Part 1: keyframing animation 355 Part 2: animating along a motion path 364 Part 3: editing a motion path 367 Part 4: animating the camera 369 Conclusion 372 Quiz 373 On Your Own 374 Quiz Answers 375 More animation techniques 377 Part 1: Creating an exploded view animation 379 Part 2: animating shaders 386 Conclusion 395 Quiz 396 On your own 397 Quiz Answers 398 xii Contents Index 399 1 LEARNING ALIASSTUDIO TUTORIALS Learning objectives This chapter shows how to use the tutorials, and presents the graphic and text conventions used in this manual. HOW TO USE THIS BOOK Introduction A general introduction and welcome to the AliasStudio tutorials. Welcome to AliasStudio and the world of three dimensional modeling, rendering, and animating. AliasStudio offers a complete solution for the creation of digital content in fields such as industrial design, automotive design, and consumer product design. About the Learning AliasStudio Tutorials A general overview of the tutorials. The tutorials in this book present examples of typical concept design workflows. The tutorials introduce the powerful tools and interactive features of AliasStudio, and demonstrate how to use them to accomplish your concept design tasks. The first six tutorials introduce modeling tools to build your experience level. We recommend that you start with the first tutorial and proceed sequentially through the modeling tutorials, because they build on each other. The next two tutorials introduce rendering tools and skills. The last tutorial introduces animation tools and skills. These tutorials are densely packed with information and techniques that may be new to you. You may want to re-read the lessons after completion, or even repeat the more difficult lessons. You can view movies (in Flash format) demonstrating each tutorial in the online documentation. In order to view these movies, you may need to install a Flash player. You can download Flash plug-ins for your browser for free from www. macromedia. com. Disclaimer: There may be slight discrepancies in procedures between the movies and the written documentation. If you 2 How to use this book encounter a discrepancy, use the written ocumentation version because it will be the most current. For More Information Information on learning more about AliasStudio and training. These tutorials are an introduction to AliasStudio. They are not intended as an exhaustive guide to the capabilities and options of AliasStudio, and will not teach you everything th ere is to learn about the products and workflows. For additional information and more comprehensive explanations of tools and options, refer to the online documentation included with the product, and read Getting help on AliasStudio (page iii). Graphic Conventions Explains graphic conventions used in the tutorials. To call attention to part of a screen shot, we ighlight the important area and darken the rest of the image. For example, in the picture shown, we have marked the location of the close box on the Action Window. To indicate a click, we use this symbol. For example, in the picture shown, we have indicated that the Open command should be clicked. In the text of the instruction, we will refer to this as File > Open. The first word or term is the name of the menu or palette; it is followed by an arrow and the name of the menu item or tool. In the case of a submenu, two arrows are used: Layouts > All Windows > All Studio refers to the All Studio menu item available from the All Windows submenu, which is found on the Layouts menu. To indicate that an option box for a tool or menu item should be opened, a box appears after the tool name, like Surfaces > Skin ?. When we ask you to choose a tool, we show the tool’s icon next to the instruction. Terms Explains terms used in the tutorials. Click: Move the mouse pointer over an object and press and release a mouse button once. Double-click: Move the mouse pointer over an object and press and release a mouse button twice fast. Drag: Move the mouse pointer over an object and hold down a mouse button, then move the mouse with the button held down. Then release the mouse button. Click-Drag: Move the mouse pointer over an object, ress the mouse button, and move the mouse pointer to a final position before releasing the mouse button. The Scene: The 3D â€Å"world† inside the view windows. 3 How to use this book The Model: The curves, surfaces, and points that make up the object you are creating. Note about Window Names AliasStudio 2008 brings a change in Stu dio and DesignStudio to the names of the Front and Side orthographic windows. Some of the tutorials in this book (Modeling a Shower Gel Bottle, Modeling an MP3 Player, and Rendering Basics) use the new naming convention; the rest of the tutorials still use the older DesignStudio window names. At the start of each tutorial, a section describes which window ames are used in that tutorial, and how to set the window names. 4 How to use this book 5 INTERFACE BASICS Learning objectives You will learn how to: ? Log into the system and start AliasStudio. ? Arrange windows. ? Use tools and tool options. ? Customize shelves and marking menus. ? Tumble, track, and dolly the view. ? Use the Object Lister window to understand the model Introduction Before you begin working in AliasStudio, you should spend some time learning how AliasStudio represents the scene and the model (both externally and internally), and how you use menus and tools to create and edit model data. Installing the tutorial co urseware files Each tutorial in this book is based on an Alias wire file which contains the material you need to learn the tools, skills and concepts in the tutorial. When you install AliasStudio, the courseware files are not automatically installed. These files are required to complete the Learning AliasStudio and Technical Surfacing tutorials. If you have installed the online documentation, your courseware may already be installed. If not, follow the following procedure to install the courseware. To install the courseware for use with AliasStudio: The courseware files (Alias wire files and other support files) are automatically installed when you install the documentation from the AliasStudio Documentation CD. If you have not yet installed the documentation, place the AliasStudio Documentation CD in your CD-ROM drive and proceed with the installation. You will require write permissions to the directory in which you plan to install the online help and courseware files. If you want to install only the courseware files, go directly to your disk drive and find the CourseWare folder on the disk. 2 Copy the CourseWare folder from its location on your hard drive or CD-ROM drive into your user_data folder. On Windows systems this is typically: C:Documents and Settings[userid]My DocumentsAliasStudiouser_dataCourseWare 6 Interface Basics To install the courseware for use with AliasStudio Personal Learning Edition 1 The AliasStudio documentation should have lready been installed on your system. The courseware files you’ll require to perform the tutorials can be found in the CourseWare directory, located under the Help directory. If you have installed the application in the default directory, you should find the CourseWare directory at C:Program FilesAutodeskAliasStudioPLE2008Help. 2 Copy the CourseWare directory from the Help directory to your account’s user data directory. On Windows systems this is typically: C:Documents and Settings[userid]My DocumentsAliasStudiouser_ dataCourseW are Starting AliasStudio Logging In If you have not logged in to your account on your workstation, do so now. To log in to your account ? Type your user name and password at the prompts. If you have an account on this workstation, the operating system user environment will appear. Depending on which product you are using, the AliasStudio icon may have a different name, such as DesignStudio or AutoStudio. To start AliasStudio on Windows 1 Double-click the Studio shortcut icon on the desktop, or choose Studio from the Start menu. When you start AliasStudio for the first time the Application Launcher appears on your desktop. 2 Choose a product to launch and options where applicable. If you want AliasStudio to launch the selected product and options automatically every ime you start AliasStudio, click Set Default. When you start AliasStudio again, the default product starts and the Application Launcher does not appear. You can change the default settings anytime by choosing Application Launcher from the Start menu. 3 Click Launch. The chosen product should start. 4 If the main AliasStudio window appears, AliasStudio is installed. The Start-up Process The first time you run AliasStudio, you may be presented with a choice of product to launch, if you work in an environment where there are several AliasStudio products installed. The product choice will depend on the licenses owned by your organization. 1 Choose the product you want to run, and click Go. Next, you’ll be presented with a workflow selection. 2 For the purpose of these tutorials, choose the Default workflow, which gives you access to all 3D curve and surface creation tools. The Paint workflow is for working solely within a 2D environment. You can click the Do not show again check box so this window won’t appear every time you launch AliasStudio. If you have chosen a workflow setting and checked Do not show again, you can change the default workflow by choosing the workflow you want from Preferences > Workflows. AliasStudio will launch the application in the same workflow that was active when you last exited the application. AliasStudio shows a splash window as it loads. During start-up, AliasStudio may warn you about unusual conditions on your system: ? If you are already running AliasStudio (or if AliasStudio exited abnormally the last time you ran it), the application will ask you if you really want to start another copy. 3 If you are sure AliasStudio is not running, click Yes to continue loading. After AliasStudio has finished loading its resources and plug-ins, the workspace window opens. 7 Interface Basics Overview of the AliasStudio Interface The main parts of the AliasStudio interface are: ? the Palette, located on the left ? the Menu Bar, located at the top the Window Area, taking up most of the interface and located in the middle (this area may or may not contain view windows when you first start AliasStudio). ? Shelves, located at the bottom (the Shelves may or may not be visible) ? the Control Panel, located on the right As you continue through this tutorial you will become more and more fami liar with the AliasStudio interface. Using Help One of the most important menus is the Help menu. The Help menu is organized so that you can get quick and specific information on just about any tool in AliasStudio. To get help on a tool or menu item It’s easy to get help on any tool or menu item in the interface. Just follow the steps below. 1 Click the Help menu, located at the right end of the menu bar. 2 In the Help menu, click What’s This? You are prompted to select the tool for which you want help. (This prompt appears in the prompt line, located just below the menu bar. ) 3 Click a menu item or a tool icon in the Palette. A browser window is launched and the on-line documentation about that tool icon or menu item is displayed. 4 When you are finished reading the information, minimize or close the browser window. Menu Bar Shelves Control Panel Window Area Palette 8 Interface Basics Arranging Windows Performing Menu Commands To use the menus to choose a window layout Click the title of the Layouts menu to open the menu. Notice the arrow next to the All windows item. This means there are more sub-options for this category: 2 Click the All windows item to open the submenu, then click the All windows item. The All windows command arranges view windows in the â€Å"Studio† layou t: Top, Front, Right, and Perspective. These tutorials will sometimes refer to menu items by the path through the menus to the item. So All windows will be: Layouts > All windows > All windows. As an alternative to the single-click method, you can use the pull-down menus by dragging the mouse down the menu and releasing on the item you want. Window Controls Use these controls on the borders of view windows to move, close, and resize the window: The view windows have more controls across the top, but for now you will concentrate on the close box, title bar, maximize, and resize corners. You will discover the functions of the other icons later in the tutorials. Close box Title bar Maximize box resize corners (4) 9 Interface Basics Closing Windows To close the Top view using the close box ? Find the close box in the upper left corner of the Top view window. ? Click the Top view window’s close box. The Top view window disappears. Resizing Windows You can change the size of windows using the resize arrows at each corner. To change the size of a view window using the resize arrows and maximize box 1 Find the resize arrows in the corners of a view window. 2 Drag a resize arrow to change the size of the window. An outline of the view window follows the mouse. 3 Release the mouse button. The corner of the window snaps to the new size. 4 Try dragging the resize corners in the other corners to see how they resize the window. ? Often you will want to work in one large window to see more detail. Use the maximize box to temporarily make the view window fill the entire screen. 5 Find the maximize box in the upper right corner of a view window. 6 Click the maximize box of the view window . The view expands to fill the entire screen. Notice that the maximize box changes to black to show the window is maximized. 7 Click the maximize box again to return the view window to normal size. Moving Windows To move and arrange the remaining windows 1 Find a view window’s title bar. The title bar is the area at the top of the window, between the close box and the other icons on the right. 10 Interface Basics 2 Drag the title bar. An outline of the view window follows the mouse. 3 Release the mouse button. The window snaps to the new location. ? By now you probably have some view windows overlapping other windows, similar to this: The windows are like a stack of papers on a desk. As you shuffle them, they can overlap. When windows overlap like this, you can click in a window to move that window to the front of the stack. 4 Click the title bar of the Perspective view window to move it in front of the other windows. The windows are probably a little disorganized at this point. You can quickly reset them to a default layout using the commands in the Layout menu again. 5 Choose Layouts > All windows > All windows. The Active Window Notice one of the view windows has a white border. This is how AliasStudio indicates the active view window (sometimes also called the current view window). The active view window is always the last view indow you clicked in. Some tools change behavior based on which view is active, but for now you can disregard which view window is active. Saving an arrangement of windows If you have a particular choice of windows that you plan to use repeatedly, you can save the set by choosing Layouts > User windows > Save Current Layout. Youâ€℠¢ll be prompted for a file name. To use this layout in the future, choose Layouts > User windows > Retrieve Layout. 3 1 2 1 2 3 1 2 3 11 Interface Basics Using Tools Using Tools Describes how to use the AliasStudio interface, such as selecting tools and creating shortcuts. Tool Basics To orient yourself in the Palette window Find the Palette window on the left side of the screen. If the palette is not visible, go to the Windows menu and choose Palette. The Palette window is divided into separate palettes of tools, each labeled with a tab at the top. For example, the Curves palette contains tools for creating new curves. The Curve Edit palette contains tools for editing and reshaping existing curves. 2 Find the Surfaces palette. It’s the seventh palette from the top of the window. If you can’t see the Surfaces palette, use the scroll bar on the left side of the palette window to scroll up or down until it’s visible in the window. 3 Hold the cursor over a tool. Th e name of the tool appears in a small box just elow the icon. This small text window is called a tooltip. This feature can help you to identify tools until you become familiar with the icons in the palette. Once you are familiar with the icons in the palette, you may want to disable tooltips. To do this, choose the ToolTips option in the Interface section of the General Preferences window (Preferences > General Preferences – ? ). Now you will use the geometric primitive tools to add some geometry to the scene. The primitive tools create simple 3D geometric shapes such as cubes, spheres, and cones. As a technical surfacer, you may not regularly need to add these simple shapes to a model. However, hey will allow us to practice several AliasStudio interface concepts, including choosing tools, using manipulators, sub-palettes, tool option windows, and snapping. 12 Interface Basics Using Tools To create a primitive sphere in the scene 1 Click the Surfaces > Primitives > Sphere too l. A red outline appears around the icon to show it is the current tool. 2 Click in the Top view window to place the new sphere. A new sphere, one grid unit wide, appears where you release the mouse button. Using a Snap Mode To use grid snapping to place a primitive cube You may have noticed that some tools have a small yellow arrow in the top right corner. These arrows indicate that more, similar tools re available in a hidden sub-palette. To access the extra tools, you must click and hold the mouse to open the sub-palette. 1 In the Surfaces palette, click and hold the Sphere tool icon. The Surfaces > Primitives sub-palette pops out. 2 Hold the middle mouse button on the different tools in the sub-palette to see their names. 3 Click the Cube tool. The sub-palette disappears. The Cube tool is selected and now occupies the space in the main palette where the Sphere tool was. This time you will place the new primitive using grid snapping. 4 Find the snap buttons, to the right of the p romptline. 5 Click the Grid button to turn on grid snapping. Click and drag in the Top view window. 13 Interface Basics Using Tools The cube snaps to the grid intersections as you drag. 7 Place the cube at a grid point by releasing the mouse button. 8 Click the Grid snap button again to turn grid snapping off. In addition to using the Grid button, you can grid snap by pressing and holding the Alt button while you place a primitive. To use the palette menu to choose the Cone tool This time we will show you an alternative method for choosing tools from palettes. 1 Click the tab at the top of the Surfaces palette. The palette collapses down to just the tab, and the other palettes move up to fill the space. This feature is very useful for saving space in the palette window and in shelves. You can still choose tools from the palette using the palette’s menu. 2 Click the right mouse button on the Surfaces palette’s title tab to open the palette’s menu. 3 Click the Primitives item to open the sub-menu. Just like the menus at the top of the screen, arrows indicate that an item in the palette menu has sub-items. 4 Click the Cone tool item. You have now seen two different ways to choose a tool from a palette. From now on, we will ask you to choose tools by name, such as: â€Å"In the Surfaces palette, choose Primitives > Cone. † Whenever you are asked to choose a tool, you an either click the tool icon, or choose the tool from the palette menu. 5 Click in the Top view to place a cone in the scene. 6 Click the Surfaces palette’s tab again to expand the Surfaces palette back to normal. To use tool options to add a half-cylinder 1 With the right mouse button, c lick the title tab of the Surfaces palette to open the palette menu, then open the Primitives sub-menu. Notice that some items have shadowed boxes next to the name of the item. 14 Interface Basics Using Tools 2 Click the shadowed box next to the Cylinder item. 3 The Cylinder options window appears. 4 Double click in the text box labeled Sweep, then type 180 and press Enter to set the sweep to 180 degrees. Use the slider next to the Sections text box to set the sections to 4. 6 Click the Go button at the bottom of the window. This button applies the settings in the window and activates the tool. 7 Click in the Top view window to place the new half-cylinder in the scene. As you specified in the option window, the cylinder has a 180-degree perimeter and is created from four sections (spans). 8 Look at the Cylinder tool icon. It has a small option box symbol in the top left corner. Like the symbol in the menu, this indicates the tool has options. 9 Double-click the Cylinder tool icon. T he Cylinder Options window appears. 10 Click Exit to close the options window. Picking and Unpicking Objects Picking refers to selecting objects in the scene for use with other tools. For example, to move a CV, you must pick the CV, then use the Move tool on the picked CV. Picking objects in the scene is a fundamental part of modeling with AliasStudio. Because it is so important, AliasStudio provides several different tools for picking. To pick all and pick nothing 1 In the Pick palette, choose Object Types > All obj/lights. All the objects in the scene highlight to show they are picked. 15 Interface Basics Using Tools Unlike most selection tools, Pick > Object Types > All obj/lights does not stay selected, since you never need to use it twice in a row. When these momentary types of tools finish, the current tool reverts to the last continuous tool you selected. 2 In the Pick palette, choose the Nothing tool. The Pick > Nothing tool unpicks every object, leaving nothing picked. Like the Pick > Object Types > All obj/lights tool, the Pick > Nothing tool does not stay selected. The current tool reverts to the last tool you used. To pick and unpick individual objects 1 Choose the Pick > Object tool. 2 Click the cone primitive in the view windows with the left mouse button. The cone highlights to show it is picked. 3 Click the other objects with the left mouse button. They also become picked. With all the objects picked, click one of the picked objects with the left mouse button. The object you clicked becomes unpicked. The left mouse button toggles objects between picked and unpicked. 5 Now click one of the primitives with the middle mouse button. The object you clicked is picked and the other objects are unpicked. 16 Interface Basics Using Tools The middle mouse button picks only the object you click. 6 Click the picked primitive with the right mouse button. The object is unpicked. The right mouse button unpicks objects. This is most useful with pick boxes, as you will see in the next procedure. To use pick boxes to pick and unpick several objects at once With the Pick > Object tool still selected, click one of the primitive objects with the left mouse button. 2 Press the left mouse button and drag a box around all the primitive objects. All the objects inside the pick box toggle between picked and unpicked. 3 Now drag a pick box with the middle mouse button around some objects. Now only the objects inside the box are picked. 4 Now drag a pick box with the right mouse button around some of the picked objects. 17 Interface Basics Using Tools Any objects inside the pick box are unpicked. To pick by name 1 Use the middle mouse button to pick only the sphere. 2 From the Windows menu, choose Information > Information window. The Information window appears. The information window allows you to adjust parameters for objects in the scene. 3 Find the Name field. The name of the object should be sphere or something similar. 4 Close the Information window. 5 Click in empty space with the middle mouse button. All objects in the scene are unpicked. ? Remember, the middle mouse button picks only what you click. If you pick â€Å"nothing† (empty space), then the tool acts just like if you had chosen Pick > Nothing. 6 Type sphere, then press Enter. The text appears as you type in the promptline at the top of the workspace window. When you press Enter, the sphere is picked. Shortcuts to Tools The variety of tools available is the source of AliasStudio’s power, but finding tools in the palette can potentially become time consuming. You can make commonly used tools available more quickly, and hide rarely used tools until you need them. AliasStudio provides three solutions: shelves, marking menus, and hot keys. Shelves are like the palettes, except you control the tools’ options and their position on the shelves. You will use shelves to organize all your commonly used tools. Marking menus pop-up at the current mouse location. They provide a very fast method to choose the tools you use most often (such as Pick > Object). Hot keys are special key combinations that perform ommon menu or tool commands. Creating Custom Shelves To show and hide the shelf window 1 In the Windows menu, choose Shelves. The Shelves window appears. ? The Shelves window provides a floating window in which to keep commonly used tools. 18 Interface Basics Using Tools AliasStudio, however, pr ovides another, even more convenient location for shelves. In these tutorials, you will use the shelf area in the control panel. ? Since you will not be using the Shelves window, you can close it. 2 Choose Windows > Shelves again to hide the Shelves window, or click the Shelves window’s close button. To help demonstrate how to make new shelves, you ill clear the default shelves and make new shelves specific to these tutorials. Before you clear the default shelves, you will save them so you can retrieve them later. To save the initial shelf set 1 Choose Windows > Control Panel. The control panel will appear. 2 Hold the left mouse button on the Shelf Options menu button at the top of the control panel’s shelf area to open the pop-up menu. 3 Drag down to the Save item and release the mouse button. A file requester appears. 4 Click in the File text field and type Default, then click Save. In the next procedure, you will start a new shelf of tools commonly used in curve fit ting in preparation or the lesson on fitting curves to scan data. To clear the existing shelf set and create a new one 1 Hold the left mouse button on the menu button at the top of the shelf area to open the pop-up menu. Notice how the menu button is now called Default, after the name of the current shelf. 2 Choose New from the pop-up menu. A requester appears asking for the name of the new shelf. 3 Click in the text box, hit the Esc key to clear the text, and type CurveFit. Click OK to name the new shelf. The old Shelf set is deleted and a new, empty shelf appears in the shelf area. Now you can begin adding tools to the new shelf. 4 In the Palette window, find the Curves palette. With the middle mouse button, drag the Fit Curve tool onto the Curves shelf in the control panel. 19 Interface Basics Using Tools The tool appears in the shelf. You could move the entire Curves palette onto the shelf by dragging its title tab, but you only want a selection of tools from the full palette. N ext, you will add curve drawing tools to the palette. Since you will often need to create curves of different degree in technical surfacing, it would be useful to have customized versions of tools with different settings. The shelf allows you to do this. When you drag a tool onto a shelf, the new copy of the tool keeps the settings it had when it was dropped on the shelf, ndependent of the original tool in the palette. Using this technique, you will create several versions of the two original curve creation tools, New curve (edit pts) and New curve (cvs). Each version will have different settings for the Degree option. To add versions of the New Curve tools to the shelf with different options 1 In the Curves palette, double-click New Curves > New Curve by Edit Points to open the tool’s option window. (Remember that you can also choose New Curve by Edit Points from the palette menu). The New Curve by Edit Points option window appears. The options let you set the knot spacing ( parameterization) and degree of the new curve. Make sure Knot Spacing is set to Uniform and Create Guidelines is off. 3 Set the Degree option to 2. 4 Find the tool icon at the top of the option window. This icon represents the tool as configured with these settings. 5 Press the middle mouse button on the tool icon at the top of the option box and drag it to the CurveFit shelf. Now when you choose this icon in the shelf, the New Curve (edit pts) tool will create degree 2 curves. 6 Back in the option window, set the Degree to 3. 20 Interface Basics Using Tools 7 Use the middle mouse button to drag the tool icon at the top of the option window to the shelf. Another copy of the tool is added to the shelf. When you choose this copy of the tool, the New Curve (edit pts) tool will create degree 3 curves. 8 Click Exit at the bottom of the option window to close the window. To rename the tools 1 Move the mouse over the CurveFit shelf’s title tab and press the right mouse button to show the shelf’s menu. Note that the two versions of the tool have the exact same name and icon. To be able to distinguish between the tools, you will rename them. 2 Find the first version of New Curve by Edit Points you dragged to the shelf. If you can’t remember which is which, doubleclick the two icons to see their option windows. You want the version with the Degree option set to 2. Hold down the Ctrl key and double-click the tool icon. A name requester appears. 4 Double-click in the text box and type Edit_pt_Deg_2, then click OK to rename the tool. 5 Hold down the Ctrl key and double-click the second copy of the New Curve by Edit Points tool. 6 Double-click in the text box and type Edit_ pt_Deg_3, then click OK to rename the tool. 7 Hold down the right mouse button on the title tab of the shelf to open the shelf menu. The two copies of the tool are now distinguishable in the menu, but still have identical icons. We recommend you keep the shelves collapsed and use the shelf menus to choose tools. This saves space in the shelf. To remove a tool from the shelf 1 Add another tool to the CurveFit shelf. Let’s now assume that this was a mistake and you wish to remove the tool. 2 Hold the middle mouse button over the tool’s icon in the shelf. The name of the tool appears. 3 With the middle mouse button held down, drag the label to the upper-right corner of the window and position the cursor over the trash can icon. 21 Interface Basics Using Tools 4 Release the mouse button. The tool disappears from the shelf. You can also delete groups of tools by dragging a tab with the middle mouse button to the trash can. You may have noticed that icons are a bit crowded on the shelf. The large icons are good when you are learning which icon is which, but now you will switch to the small icon size to save space in the shelf. To change to the small icon size 1 In the Preferences menu, choose General Preferences – ?. The Interface options appear. 2 Set the Icon Mode to Small. If you wish, you can also turn the icon labels option on to display name labels on all the icons. 3 Click the Go button at the bottom of the window to apply the changes. AliasStudio loads smaller versions of all the tool icons. You have seen how to create shelves with customized tools. In later lessons you will load premade shelves containing all the tools you need to omplete the tutorials. Using and Customizing Marking Menus An even faster method for selecting tools are the marking menus. Marking menus generally hold fewer tools than a shelf, but are much faster since you can use quick gestures to choose tools. With practice, selecting tools with marking menus becomes almost instantaneo us. To choose common tools with marking menus 1 Hold down the Shift and Ctrl keys. 2 With the keys held down, hold the left mouse button. 22 Interface Basics Using Tools The left mouse button marking menu appears at the location of the mouse pointer. 3 Keep the left mouse button held down and drag down until the Pick > Object box is ighlighted. A thick black line shows the direction of the mouse pointer. 4 Release the mouse button to choose the highlighted tool. The Pick > Object tool is now the current tool. 5 Hold Shift and Ctrl with the middle and then with the right mouse buttons to see the other marking menus. Each mouse button has a separate marking menu. Once you have learned which direction corresponds to which tool in a marking menu, you can use a quick gesture to choose the tool. 6 Hold the Shift and Ctrl keys, then drag up and release the mouse button quickly. The black line shows the direction but the menu is not drawn. When you release the mouse button, the arking menu flashes the name of the selected tool on the screen. You have just selected Pick > Nothing. Use this method to choose tools even faster once you have mastered the positions of the tools on the menu. Learn which tools are on the marking menus, and use the marking menus whenever you need to choose one of those tools. The more you use them, the faster you will become, until you can choose tools with quick gestures. To customize a marking menu with common tools 1 In the Preferences menu, open the Marking Menus sub-menu and choose Modeling Marking Menu – ?. The Modeling Marking Menu shelf window appears. This is a special shelf window. The tools and enu items on the different tabs appear in corresponding marking menus. The procedure to modify the content of marking menus is similar to the one for modifying shelves that we learned earlier. Here you will make a small modification to the Pick marking menu shelf. 2 Double click the Pick > Pick locator point tool in the Palette or Cont rol Panel to open the Pick Locator Options box. Right mouse button Middle mouse button Middle Right 23 Interface Basics Using Tools 3 Hold down the middle mouse button and drag the tool icon from the top of the option box and drop it between the third and fourth last icons on the shelf. You now have a tool on the marking menu to ick locators. 4 Hold down Shift and Alt keys and press the left mouse button to show the marking menu again. The tool you just added is called Pick > Pick_locator in the marking menu. You will change the name to something more concise. 5 In the MarkingMenu shelf window, hold down the Ctrl key and double-click the Pick locator tool in the shelf (second from the right). A dialog box appears. 6 Type Pick_Locator in the text field and click OK to rename the tool in the marking menu. 7 Show the left mouse button marking menu again. You now know how to customize the marking menus. In later lessons, you will load pre-made marking menus with common urfacing tools. U sing hot keys Hot keys are special key combinations that choose tools or perform menu commands. You can get a complete listing of all the hot keys in the hot key editor. To use hot keys 1 In the Preferences menu, open the Interface sub-menu and choose Hot keys / Menus. The hot key editor appears. 24 Interface Basics Using Tools ? AliasStudio’s option windows use a hierarchy similar to that of the file lister: options are organized into hierarchical sections that can be collapsed and expanded. 2 In the menu section, click the Layouts subsection title to expand it. Click to open a Section Heading You can see the hot key for the User windows tem, as well as text fields for defining other hot keys. You can define your own hot keys if you wish. For the most part we will not use hot keys in these lessons. If you are new to Autodesk AliasStudio products, we recommend that you spend some time working with the product before you define hot keys, so you can learn which commands you use frequently enough to need a hot key. 3 Click the close box to close the hot key editor. 25 Interface Basics Changing Your View of the Model Changing Your View of the Model Learn how AliasStudio represents the 3D model on your 2D monitor, and how to use the view controls to get the best possible angle on the model for the ask at hand. Tracking, Dollying, and Tumbling the Camera’s View There are many different ways to change the camera’s view in AliasStudio. In general, you will only need to learn three camera moves to model effectively: tumble, dolly, and track. Because these camera movements are so common, AliasStudio uses special hot key/mouse combinations to let you access these movements quickly. To use the camera move mode to move the camera in a perspective window 1 Hold down the Shift and Alt keys. Keep the keys held down during the following steps. 2 Make sure the mouse pointer is over the perspective view window. 3 Drag the left mouse button to tumble the came ra: Drag left and right to rotate the camera. ? Drag up and down to tilt the camera. Tumbling the camera changes the azimuth and elevation angles of the camera. 4 Release the left mouse button, but keep the Shift and Alt keys held down. 5 Drag the right mouse button to dolly the camera in and out. Dolly in out Track Tumble rotate tilt up down left right 26 Interface Basics Changing Your View of the Model Dollying moves the camera forward and backward. 6 Again, release the right mouse button, but keep the Shift and Alt keys held down. 7 Drag the middle mouse button to track the camera. Tracking moves the camera, but does not change the direction in which the camera is pointing. When you are done moving the camera, release the mouse button and the Shift and Alt keys to exit camera move mode. Now, try moving the camera in the orthographic windows. To use the camera move keys to move the camera in an orthographic window 1 Hold Shift and Alt to enter camera move mode. 2 Make sure the poi nter is over an orthographic window such as Top, Side, or Back 3 Drag the right mouse button to dolly in and out. 4 Drag the middle mouse button to track up, down, left and right. 5 Now try dragging the left mouse button to tumble the orthographic view. Nothing happens. You cannot change the view direction of orthographic windows. They always ook in the same direction. Moving the camera is a very important skill in AliasStudio. Throughout this book you will need to move the camera to work with geometry. Using the camera move mode soon becomes second nature. With practice, you will be able to 27 Interface Basics Changing Your View of the Model move the camera where you need it without thinking about the keys or the mouse. Practice tumbling, tracking, and dollying the camera around the model some more before you move on. To use Look At to center on an object 1 Use the marking menus to choose the Pick > Nothing tool. Remember that the left mouse button marking menu has the pick tools. Now use the marking menus to choose the Pick > Object tool. 3 Pick one of the geometric objects you created earlier. 4 Find the View palette. It’s near the bottom of the Palette window. 5 Choose the Look at tool. The active view window (the window with the white outline) changes to center on the picked object. 6 Pick nothing. 7 Use the Look at tool again. The active view changes to center on all the existing geometry. When you use Look at with nothing or everything picked, the view will center on all the geometry in the scene. Look at is most useful to quickly find geometry that is outside the view of a window or too far to be seen clearly. AliasStudio provides two additional tools to make it easier to move the camera around a model quickly: the â€Å"point of interest†, and the viewing panel. Changing the Point of Interest Normally, camera move mode (Shift+Alt) is calibrated to best view objects at the origin (the center of world space, coordinate 0,0,0). This can become awkward when you want to move the camera around objects away from the origin. The point of interest manipulator lets you center the camera movements on a point on the model. To use the point of interest manipulator First, make sure the point of interest manipulator is turned on. 1 Choose Preferences > General Preferences ?. The General Preferences window appears. 28 Interface Basics Changing Your View of the Model T 2 Click Input on the left hand side to open the Input section. 3 Turn on the Use point of interest option. 4 Click Go to close the window and use the new settings. 5 Move the mouse pointer over the Perspective view and hold down the Shift and Alt keys to open the Viewing Panel. Keep the keys held down for the rest of this procedure. 6 In the Viewing Panel, open the Pnt of Interest section and turn on Visible. 7 Position the mouse pointer on the wireframe of one of the primitive objects and click with the left mouse button. When you release the mouse button, the point f interest manipulator appears on the model where you clicked. Drag with the left mouse button to tumble. The view tumbles around the point of interest. 8 Click and release on another point on one of the primitive objects. The point of interest manipulator jumps to the new point. 9 Drag the circle at the center of the point of i nterest manipulator. The manipulator moves across the surface of the object. 10 Notice the light blue or yellow arrow extending from the center of the manipulator. This arrow indicates the normal at this point on the surface. The arrow is light blue when it is pointing toward you and yellow when it is pointing away. 11 Click the light blue or yellow arrow. The view changes to look at the point down the normal. 12 Now look for the red and green arrows extending from the center of the manipulator (tumble the view to show the arrows more clearly if necessary). These arrows represent the tangents along the U and V directions for the object. 13 Click the red arrow. The view changes to look down the tangent in the U direction. 29 Interface Basics Changing Your View of the Model Use the following overview illustration as a reminder of the different controls on the point of interest manipulator. Using the Viewing Panel You have probably already seen the viewing panel appear when you enter camera move mode in the Perspective window. This window lets you quickly switch the Perspective window to a default or userdefined view of the model. As you work on the model, you will probably find yourself changing the camera view back and forth between two or more areas of interest. The viewing panel lets you â€Å"bookmark† views of the model and return to those views by clicking the name of the bookmark. To use the viewing panel to move between different views 1 Click the maximize box in the upper right corner of the Perspective view window. The Perspective view window enlarges to full screen. 2 Hold down the Shift and Alt keys to enter camera move mode. Keep the keys held down for the rest of this procedure. The viewing panel appears in the upper left corner of the Perspective window. The images at the center of the panel (small icons of the top and bottom of a car) represent the model. 3 Click an arrow to view the model from one of eight different directions. The horizontal and vertical arrows represent front, side, and back views. The diagonal arrows represent three-quarter views. Click the red or green arrow to look at the tangent along the U or V direction Click the light blue/yellow arrow to look down the norma Drag the circle to move at this point the point of interest along or across the object 30 Interface Basics Changing Your View of the Model Click the left car icon to see a top view, or the right car icon to see a bottom view. 5 Click the white arrow near the bottom of the viewing panel to return to the view previous to your last camera move. 6 Click the Viewing Panel section heading at the top of the panel to collapse the entire panel into a small heading. Use this technique to get the viewing panel out of the way when you want as much viewing area as possible. 7 Click the Viewing Panel heading again to expand the panel. 8 Click the Point of Interest section heading to open it. Options related to the point of interest manipulator appear. 9 Turn off the Visible check box to hide the point of interest manipulator. Turn the Visible check box on to show the manipulator again. 10 Turn on the Locked check box to keep the point of interest manipulator locked at its current position. The manipulator will not move when you click at another point or drag its center handle. Use this option if you find that you are moving the manipulator unintentionally. Turn the Locked check box off to free the manipulator. 11 Turn off the Perspective check box. The perspective view changes to an isographic projection. 31 Interface Basics Changing Your View of the Model Many people find an isographic view easier for technical modeling, since parallel lines in the model remain parallel in the view window. For the remainder of the tutorials, the screen shots will show isographic views. However, feel free to turn the Perspective checkbox back on if you prefer a perspective view. To set and show bookmarks 1 Move the mouse pointer over the Perspective view and hold down the Shift and Alt keys to enter camera move mode. Keep the Shift and Alt keys held down. 2 Find the Bookmarks section at the bottom of the Viewing Panel If it is not visible, click on the tag in the bottom right corner of the viewing panel. It will turn white and the bookmarks section will appear. 3 Click the new button in the bookmarks section. A new bookmark appears at the bottom of the section. Move the camera to a new view on the model. 5 Click the new button again. A second bookmark appears in the bookmark list. 6 Click the label for the first bookmark, then the second. The view switches back and forth between the two bookmarked views. To be able to distinguish between bookmarks later, you should rename them now. 7 Cl ick the edit button in the Bookmarks section. The Bookmark Lister window appears. 8 Release the Shift and Alt keys. 9 Hold down the Ctrl key and double-click the first bookmark icon in the Bookmark Lister. A dialog box appears. 10 Type a new name for the bookmark, then click OK. For production work you should use meaningful ames such as â€Å"back panel† or â€Å"door handle†. By default, bookmarks are named BM, BM#2, BM#3, etc. Move the cursor over a bookmark icon to see its current name. 11 Ctrl double-click and rename the other bookmark. 12 Note the buttons in the Bookmark Lister window: ? The Delete button removes the current bookmark (green outline) from the list. ? The New button adds a bookmark of the current view. This is the same as clicking new in the viewing panel. ? The Prev and Next buttons change the view to the bookmark that precedes or follows the highlighted bookmark (green outline). Delete New Prev Next Bookmark icons Cycle Publish 32 Interface Basics Changing Your View of the Model The Cycle button displays the bookmarked views in a slideshow fashion. ? The Publish button saves the current or all bookmark(s) as image files on your disk. ? Clicking on a bookmark icon changes the view to that bookmark. This is the same as clicking a bookmark in the viewing panel. 13 Close the Bookmark Lister. 14 Hold the Shift and Alt keys in the Perspective window to show the viewing panel. Notice your new names in the Bookmarks section. Use the following overview illustration as a reminder of the different controls on the viewing panel. The Twist and Azimuth/Elevation tools rotate the view around the point of interest. Open/Close Panel Open/Close