The well arranged and instructivee business plan is the basic part of every business project.. Currently is very often used the lean canvas model of the business plan. This model shows us very istructively all the factors influencing the project realisation. The dissertation is divided into the two basic parts. In the thoretical were compared the essential forms of the business plan with their differences. The practical part consists of creating the lean canvas model for the progressive company using the UAV and the MAIA application, monitoring the flight of the UAV. The economic data were analyzed and the structured scheme of the project, with the prediction was realized. The lean canvas model was very useful and optimal for this company and it´s project.

The path through life is filled with light and darkness but light casts shadows and can darken one's life. With this metaphor, I use light to symbolize the positive and shadows to represent the negative things that every one of us encounters. In my landscape paintings, the combination of light and darkness symbolizes my journey through life. There is a predominance of light in my paintings. Therefore, my intention is to portray the positive over the negative. In other words, I want to portray the light at the end of the tunnel.

Thesis (M.A.)--University of Delaware, 2009. / Principal faculty advisor: Linda Eaton, Winterthur Museum. Includes bibliographical references.

It is my discovery of the mandala that has had the most significant influence on me as an artist. The mandala, Sanskrit word for circle or center, is found in a majority of my pieces, either literally or symbolically. My interest in and subsequent use of the mandala began twenty years ago and continues to this day. The mandala is a primordial image found in the macrocosm of the universe, the microcosm of nature, and in the psyche of man. The circle has been used throughout the world in image and architecture as a sacred symbol since the beginning of time.

Contrary to the common definition of still life painting as a grouping of inanimate objects, I want my still life paintings to be full of life. I have always been intrigued by the numerous approaches and different mediums used by artists for still life arrangements. I want the objects I paint to appear three dimensional. I strive to effectively create the illusion of actual senses: smell, taste, and touch. To accomplish this, I carefully arrange objects in my composition so color, line, and form work to enhance a rhythmic flow. Contrasting warm and cool colors help add to this flow. My brush strokes turn with the curve of the objects to help create the illusion of depth and motion. This is what I call the Un-Still Life!

I use bright colors to portray birds. Typically, the birds are modeled after herons, peacocks, woodpeckers, and roadrunners. I am interested in the curvilinear forms or colorful plumage of these birds. Why birds? I wonder that myself. The rational part of me wants to know why I use bird imagery, while the intuitive side of me likes the fact that if is unknown, I haven't been able to answer that burning question. In my sculpture, wire connectors, kitchen funnels, electrical tape, caps, marker parts, cleaning bottles, and watering cans are just some of the many plastic items I use. In my painting, irregular patterns and bright, saturated pigments are evident in the compositions. I couple humorous and comical depictions of birds with an attention to design. Although art making is a serious activity, I believe there is room for humor.

Darkness & Light is a narrative body of work that reflects upon recent changes in my life. The series begins dark and abstract and becomes lighter and more refined with each artwork, functioning as a visual timeline. The chosen color palettes of each artwork are symbolic of my emotional experiences. Darkness & Light is an up-close, very small facet of the much larger work that is taking place within my community. I am inspired by my life and by others who share my philosophy. Throughout the creation of this body of work, I collaborated with various individuals within my community to create a collective design that viewers might find inspiring. The involvement of community within my work has changed the way I view art education.

This research project will explore American philosopher John Dewey’s theory of transaction, and Shannon Sullivan’s interpretation of Dewey’s theory, the ‘Transactional Body’, and their inherent potential for the making and reception of painting. Dewey stated (Dewey, cited in Sullivan: 1-2) that organisms live as much in processes across and 'through' skins as in processes 'within skins'. Sullivan’s ‘transactional body’ is always in a state of flux, a morphic body in perpetual motion. Within an artistic context this raises the possibility of exploring the theory of transaction as it applies to painting, using the concept of automatic intuitive art practice. Central to this investigation will be direct connection between senses, instincts, intuition, and the painting. Sullivan suggests that truth and wisdom can be pursued through somatic experience. Therefore the process will be explored by an extension of the corporeal body through the physicality of gesture, movement, rhythm, colour, and mark making. A recurring subtext throughout this investigation will be that of ‘duality’; specifically that defined as the struggle between the use of the conscious, critical mind, allowing for the transaction between artist, paint and canvas to occur naturally and intuitively. The conscious mind / intuition duality manifests at various stages during the manufacture and reception of a painting. Whilst the project relies upon automatic and intuitive praxis, conscious decisions are made regarding the size and shape of the canvas, the medium used, and through reflective analysis of the completed work.

This research project will explore American philosopher John Dewey’s theory of transaction, and Shannon Sullivan’s interpretation of Dewey’s theory, the ‘Transactional Body’, and their inherent potential for the making and reception of painting. Dewey stated (Dewey, cited in Sullivan: 1-2) that organisms live as much in processes across and 'through' skins as in processes 'within skins'. Sullivan’s ‘transactional body’ is always in a state of flux, a morphic body in perpetual motion. Within an artistic context this raises the possibility of exploring the theory of transaction as it applies to painting, using the concept of automatic intuitive art practice. Central to this investigation will be direct connection between senses, instincts, intuition, and the painting. Sullivan suggests that truth and wisdom can be pursued through somatic experience. Therefore the process will be explored by an extension of the corporeal body through the physicality of gesture, movement, rhythm, colour, and mark making. A recurring subtext throughout this investigation will be that of ‘duality’; specifically that defined as the struggle between the use of the conscious, critical mind, allowing for the transaction between artist, paint and canvas to occur naturally and intuitively. The conscious mind / intuition duality manifests at various stages during the manufacture and reception of a painting. Whilst the project relies upon automatic and intuitive praxis, conscious decisions are made regarding the size and shape of the canvas, the medium used, and through reflective analysis of the completed work.

Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2018-02-06T17:29:25Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) SOUZA Eduardo A B M - Design 2016.pdf: 5657102 bytes, checksum: 506267ae5af622367c4d0a644ca88b49 (MD5) / Made available in DSpace on 2018-02-06T17:29:25Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) SOUZA Eduardo A B M - Design 2016.pdf: 5657102 bytes, checksum: 506267ae5af622367c4d0a644ca88b49 (MD5) Previous issue date: 2016-07-18 / CAPES / Este trabalho de pesquisa foi elaborado no contexto de desenvolvimento da metodologia Design Thinking Canvas (DTC), no programa de pós-graduação da UFPE, sob a coordenação do professor Dr. André Neves. Na DTC são utilizados elementos de jogos como cartas e tabuleiros para auxiliar os designers na atividade projetual. Ao analisar os resultados da aplicação da DTC com alunos de graduação, na UFPE, observou-se que menos de 5% das soluções geradas consideravam aspectos da sustentabilidade. Indo além, e investigando outras metodologias de design, inferiu-se haver uma dicotomia clara entre metodologias tradicionais e aquelas voltadas para o desenvolvimento de artefatos sustentáveis. As primeiras não incorporam as questões relativas à sustentabilidade, enquanto as outras são escolhidas especificamente quando os produtos devem ser sustentáveis por definição prévia da empresa ou do designer. A partir dessas duas constatações, foi construída a hipótese primária de que seria possível introduzir critérios de sustentabilidade em metodologias tradicionais de design e, em consequência, surge a hipótese secundária de que, ao utilizar essas metodologias modificadas, os designers seriam induzidos a projetar produtos com critérios sustentáveis, mesmo quando essa condição não estivesse definida a priori, por exemplo, no briefing. Assim, para verificar as hipóteses, foi realizada uma intervenção na DTC, introduzindo conceitos relativos à sustentabilidade através de um conjunto especial de cartas com “fator verde”. Para validar a eficiência dessa abordagem, foram aplicados dois experimentos com estudantes de design da Universidade da Beira Interior (UBI - Portugal). Os resultados obtidos indicaram que os grupos de alunos que utilizaram as cartas com fator verde propuseram mais de 20% de soluções com preceitos sustentáveis. Em um dos projetos, este percentual chegou a 40%, o que indica um ganho significativo se comparado aos números levantados nas aplicações anteriores da DTC, sem as cartas com fator verde. Esses resultados apontam para a confirmação das hipóteses e abrem espaço para que novos experimentos sejam realizados no intuito de verificar o potencial de generalização da hipótese aplicando-a em outras metodologias. / This research was conducted in the context of the development of Design Thinking Canvas methodology (DTC) in the post graduation program of UFPE under the coordination of PhD professor André Neves. In DTC, game elements such as cards and trays are used to assist designers in the project activity. Through the analysis of the results of the DTC application with undergraduate students from UFPE, was observed the fact that less than 5% of the generated solutions considered sustainability issues. During the investigation of other design methodologies, was also observed a clear dichotomy between traditional methodologies and those with sustainable principles. The first ones did not consider sustainability issues, while the others were chosen only when products had to be sustainable by previous definition from the companies or designers. From these two findings, we built our primary hypothesis about the possible introduction of sustainability concepts in the traditional design methodologies and, as a result of this change, we rose our secondary hypothesis that while using these modified methodologies the designers would generate more sustainable products, even when this condition had not been defined a priori, for example, in the brief. Thus, to verify our hypothesis, we conducted an intervention in DTC, introducing concepts related to sustainability through a special set of cards that we call “green factor cards". To validate the effectiveness of our approach, we conducted experiments with product design students at the Universidade da Beira Interior (UBI - Portugal). The results showed that in the groups of students who used the green factor cards more than 20% of the solutions proposed took into account sustainable factors. In some cases, this number was almost 40%, which means a significant gain compared to numbers collected in applications of DTC without the green factor cards. These results points to the confirmation of our hypothesis, both primary and secondary and open space for new experiments in order to verify the potential of generalization of the hypothesis, applying it to other methodologies.