Empire of the Sun artwork
Hoe ziet een Agile Release Train (ART) er eigenlijk uit, en wat is een ART als je het hebt over SAFe? De stappen die wij in deze blog beschrijven vertellen je wat een Agile Release Train is en wat er nodig is om een ART op stoom te brengen pegahfar.com/.
In conclusion, ART provides a framework that promotes collaboration, efficiency, and continuous improvement, ultimately transforming the way software is developed and delivered. As organizations embrace emerging trends such as the integration of DevOps practices and the adoption of remote and distributed ART, they position themselves for long-term success in the ever-evolving software industry.
After each sprint (or PI) is over, the whole ART team — led by key leadership individuals in the team — should meet up to hold an IP session. This is a dedicated time for the team to plan the next sprint or PI, as well as spend time talking about change management and infrastructure maintenance as well.
Resistance to change is a natural response, especially when introducing a new way of working. Some team members may be comfortable with established practices and may resist adopting the ART approach. It is crucial to address these concerns proactively and involve team members in the decision-making process.
Cover image
Yes, the AI-generated cover photos created using Venngage’s tools are copyright-free. You can use them for both personal and commercial purposes without any restrictions on copyright. However, it’s always good practice to ensure that any externally sourced content you include is also cleared for use.
Yes, there are a variety of design generators available on Venngage. Along with the AI Cover Photo Generator, Venngage offers tools to create infographics, social media posts, reports, and more. These AI design tools are easy to use and customizable, helping you generate professional visuals quickly to match your style and needs.
Enhance your LinkedIn profile with a polished, tailored cover photo that aligns with your professional image. Showcase your expertise and set the tone for your profile with a design that speaks to your career achievements.
Whether you’re updating a Facebook page or personal profile, a professional cover will help you stand out. And thanks to the Desygner app, you can create your cover the moment inspiration strikes. Snap a photo, open the app, upload the file and start designing.
Want to showcase your love for travel, art, or a favorite hobby? Or maybe you want to project a more professional image? Our tool allows you to customize your cover photo to match your vibe. It’s quick, easy, and ensures your profile makes a lasting impression.
Cinematic artwork
That, as it happens, is a pretty good definition of what cinematography does at its best: It converts feelings and ideas and unspeakable desires into the visual. Much the same could be said about painting. In all probability, the two arts will continue to speak to each other—sometimes competitively, sometimes cooperatively, but always productively.
Few great cinematographers have had longer careers than Conrad Hall, who, in 1970, won an Oscar for Butch Cassidy and the Sundance Kid (1969),and decades later nabbed two more, for American Beauty (1999) and Road to Perdition (2002). Throughout those decades, he’d consult the creations of many notable painters, but none more frequently than Edward Hopper. Hopper modeled several of his paintings off of scenes from movies; it’s only fair that, in his own work, Hall returned the favor.
As Justine drifts through the dark green waters, her mouth open in eroticized agony, we’re powerless to avert the disaster—all we can do is drink in the horrifying, slow-motion beauty Claro has captured. It’s as if, in the seconds leading up to destruction, the whole world is transforming into a painting.
Cinematographers don’t only recreate specific images, of course; sometimes, they turn to a broader group of paintings in search of a mood no movie has managed to capture. The period film Barry Lyndon (1975) was shot by John Alcott, the gifted cinematographer behind two science-fiction classics, 2001: A Space Odyssey and A Clockwork Orange. In fact, it can be useful to think of Barry Lyndon as an sci-fi adventure set in the 18th century. To convey an era at once familiar and “other,” Alcott immersed himself in the landscapes of Thomas Gainsborough, born in 1727, as well as the caricatures of William Hogarth, born in 1697.
That, as it happens, is a pretty good definition of what cinematography does at its best: It converts feelings and ideas and unspeakable desires into the visual. Much the same could be said about painting. In all probability, the two arts will continue to speak to each other—sometimes competitively, sometimes cooperatively, but always productively.
Few great cinematographers have had longer careers than Conrad Hall, who, in 1970, won an Oscar for Butch Cassidy and the Sundance Kid (1969),and decades later nabbed two more, for American Beauty (1999) and Road to Perdition (2002). Throughout those decades, he’d consult the creations of many notable painters, but none more frequently than Edward Hopper. Hopper modeled several of his paintings off of scenes from movies; it’s only fair that, in his own work, Hall returned the favor.
Film graphic
If you need a firmer hand to take the wheel and steer your life toward bracateering on the high seas (or you just want to treat yo’self), you can also attend paid workshops with someone like Annie Atkins, who can then butter up your hands while also dispelling illusions on what does and doesn’t qualify as graphic design. You can also get some lovely bursaries from Screenskills, who paid for a course I did at the London Film School – these are well worth a look.
When people think of graphic designers, they think of them working in content marketing, advertising, creating logos, websites, and promotional designs for print and the digital world. However, they are just as important in the world of television and film.
The 1980s and 1990s brought technological advancement in design software and printing, allowing more intricate promotional visuals and branding materials. By the 2000s, with the rise of global cinema marketing and franchises (e.g., Harry Potter, The Avengers, Star Wars), the importance of unified, consistent, and bold graphic identity became even more significant.
My recommendations will be UK-based, though look hard enough and there is sure to be plenty of opportunities to meet and have a little chat with a group of expert graphic designers, or art department professionals in general (every skill you can learn will come up in time, so take whatever’s going). I’d advise looking into free workshops with Screenskills and Talking Point, which people will recognise when you reference having attended their courses, and from which you’re likely to get great advice.
It’s no exaggeration to say these guys are legends within the graphic design film world, but they haven’t let it go their heads. Instead, they remain extremely grounded, and have an undeniable warmth and passion, not only for the art of design itself, but for helping others become part of this highly creative world.