This wayang wong, human theater, with the topics of Jenggala Kingdom, where the players are wearing masks (Gedog comes from the word kedok = topeng, which is meant mask).

A true love story between Princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was incarnation of Dewi Ratih (goddess of love) while Panji was incarnation of Kamajaya (god of love). The story of Raden Panji and Candra Kirana was written

in a poem called 'Smaradahana' the fire of love. At the happy ending, they got married and a son by the name Raja Putra was born. Panji Asmarabangun throned as a king of Jenggala with the names Sri Kameswara or Prabu Suryowiseso or Hino Kertapati. Wayang topeng is still popular up to the present date. It is performed in a shorter period, in a special gathering, wedding parties, etc, entertaining the guests for about 20 to 30 minutes.
sumber : http://www.joglosemar.co.id/wayangtopeng.html

The puppets are stored in line, in a banana tree trunk, behind the screen and in front of the puppeter. The puppeter is called the dalang.
The dalang manipulates the puppets, sings and taps out signals to the orchestra. He also speaks the parts for all characters; he must be able to render the shy sweetness in the voice of a princess, the spiteful whine of a lackey and the righteous but controlled anger of a noble hero.

	Not everyone can be a dalang. A Dalang is a most extraordinary man. First of all, he is a public entertainer. To amuse a great number of people is not

an easy matter. He must be physically strong and healthy, otherwise he would not be able to stand the strain. Just imagine, he is seated cross-legged for nine successive hours. He cannot even have a wink of sleep. He cannot get up from his seat until six o'clock the next morning. He also has to strike the kechrek (rattle) with his right foot almost incessantly. He handles the puppets with both hands, imitates their different voices, tell jokes at the right times, and even sings every now and then. In addition, he controls the musicians without anyone among the audience ever noticing it.    


sumber : http://discover-indo.tierranet.com/wayang1a.htm

panas benembus badan
air bekucuran dari badan
rasa haus mulai

merayu
selembar kertaspun bergoyang membuat angin, menghilangkan kegerahan

Wayang kulit or shadow puppet theatre is a traditional art form from Indonesia and Malaysia. A solo puppeteer, known as a dhalang in Javanese, manipulates and provides voices for puppets cut from animal hide and painted on both sides. The shadows of these puppets fall on a white cotton screen. In Java, wayang performances are watched from both sides of the screen, as either a shadow show or a puppet show.
Performances in Java are accompanied by a full gamelan, which might have 15, 25 or more musicians. A typical performance begins at 7.30 or 8pm with a musical overture and runs until 3 am or later.  Most plays are based on the Ramayana and Mahabharata epics, which were imported from India to Java perhaps 1500 years ago. Dialogue is not written down, but largely extemporized based on oral formulae. Plays blend action, comedy, philosophy, romance and displays of statesmanship. Wayang kulit is so comprehensive in scope that it is described by many commentators as an encyclopaedia of Javanese culture.
Some performances have ritual significance. In these ritual dramas, the dhalang recites magical incantations and presents offerings to invisible spirts. One such performance, designed to drive away malevolent

spirits, is translated in Matthew Cohen’s book Demon abduction: A wayang ritual drama from West Java (Lontar, 1999).
Wayang kulit is a living art form, and there are also many contemporary productions and cross-art collaborations.
Wayang was inscribed by UNESCO in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity. The art form has attracted much attention since the nineteenth century from artists in Europe, the United States and around the world. (See Matthew Cohen’s article Contemporary Wayang in Global Contexts.) In 1999, the first major gathering of international wayang practitioners (dubbed dalang mancanegara) occurred as part of the Pekan Wayang national festival at Taman Mini in Jakarta. Matthew Cohen was among those who performed at this festival, and he also spoke at the festival’s international seminar.

sumber : http://kandabuwana.wordpress.com/about-wayang-kulit/

Museum Wayang Kekayon adalah museum mengenai wayang yang ada di kota Yogyakarta, tepatnya di Jl. Raya Yogya-Wonosari Km. 7, kurang lebih 1 km dari Ring Road Timur. Museum yang didirikan pada tahun 1990 ini memiliki koleksi berbagai wayang dan topeng serta menampilkan sejarah wayang yang diperkenalkan mulai dari abad ke-6 sampai abad ke-20. Wayang-wayang di dalam museum ini terbuat baik

dari kulit, kayu, kain, maupun kertas.
Sama halnya dengan museum Wayang di Jakarta, museum ini mempunyai beberapa jenis wayang, seperti: wayang Purwa, wayang Madya (menceritakan era pasca perang Baratayuda), wayang Thengul, wayang Klithik (mengisahkan Damarwulan dan Minakjinggo), wayang beber, wayang Gedhog (cerita Dewi Candrakirana), wayang Suluh (mengenai sejarah perjuangan kemerdekaan Indonesia), dan lain lain. Berkaitan dengan wayang Purwa, museum ini memiliki beberapa poster yang menggambarkan strategi perang yang dipakai dalam perang Baratayuda antara keluarga Pandawa dan Kurawa, yaitu: strategi Sapit Urang dan strategi Gajah.


sumber : http://id.wikipedia.org/wiki/Museum_Wayang_Kekayon

This newly developed form is used by teachers of Islam to show the principles of Muslim ethics and religion to the natives of Java and Bali.  The term "sadat" derived from shahada (

href="http://en.wikipedia.org/wiki/Arabic" title="Arabic">Arabic: الشهادة aš-šahādah).

sumber  : http://en.wikipedia.org/wiki/Wayang

Stupidity is a quality or state of being stupid, or an act or idea that exhibits properties of being stupid.[4] The root word stupid,[5] which can serve as an adjective or noun, comes from the Latin verb stupere, for being numb or astonished, and is related to stupor:[6] in Roman culture, 'the stupidus of the mimes' was a sort of 'professional buffoon - the "fall-man", the eternal

he-who-gets-kicked'.[7]

According to the online Merriam-Webster dictionary, the words "stupid" and "stupidity" entered the English language in 1541. Since then, stupidity has taken place along with "fool," "idiot," "dumb," "moron," and related concepts as a pejorative appellation for human misdeeds, whether purposeful or accidental, due to absence of mental capacity.

The word "stupidest" is increasingly common in newspapers.[8][9][10]

In general, form·Z allows design in 3D or in 2D, using numeric or interactive graphic input through either line or smooth shaded drawings (OpenGL)among drafting, modeling, rendering, and animation platforms.

Key modeling features include Boolean solids to generate complex composite objects; the ability to create curved surfaces from a variety of splines, including

">NURBS and Bezier/Coons patches and mechanical or organic forms using metaformz, nurbz, patches, subdivisions, displacements, or skinning; specialty tools such as Terrain models, Platonic solids, geodesic spheres, double line wall objects, stair cases, helixes, screws, and bolts. In addition form·Z modeling supports methods for transforming and morphing 3D shapes and allows the production of both animated visualizations of scenes and the capture of 3D shapes as they morph into other forms, introducing modeling methods that explore 3D forms beyond traditional means.

Technical output oriented modeling allows users to refine the design with double precision CAD accuracy to full structural detail for 3D visualization for the production of 2D construction drawings, 3D printing, rapid prototyping, and CNC milling and offers information management of bills of materials and spreadsheet support for construction documents.

form·Z offers a seamlessly integrated animation environment, where objects, lights, cameras, and surface styles (colors) can be animated and transformed over time. The animation features are object-centric

and are applied as modeling operations, which, in addition to supporting the production of animated visualizations, they also support dynamic modeling and the creation of forms that go significantly beyond the repertoire of conventional modeling tools. This offers a powerful avenue for design explorations.

RenderZone Plus provides photorealistic rendering with global illumination based on final gather (raytrace), ambient occlusion, and radiosity, for advanced simulation of

lighting effects and rendering techniques, which result in renderings with the most realism, as the illumination of a scene takes into account the accurate distribution of light in the environment. Consequently excellent results are achieved in a short time, with little effort to set up and easy to control.

Key rendering features include multiple light types (distant (sun), cone, point, projector, area, custom, line, environment, and atmospheric) whereas the environment and atmospheric lights, which may be considered advanced light types, are especially optimized for global illumination. Both procedural and pre-captured textures are offered and can be mapped onto the surfaces of objects using six different mapping methods: flat, cubic, cylindrical, spherical, parametric, or UV coordinates. Decals can be attached on top of other surface styles to produce a variety of rendering effects, such as labels on objects, graffiti on walls, partially reflective surfaces, masked transparencies, and more. State of the art shaders are used to render surfaces and other effects. A surface style is defined by up to four layers of shaders, which produce color, reflections, transparency, and bump effects. They can be applied independently or can be correlated. Libraries with many predefined materials are included and can be easily extended and customized.

Also available is a sketch rendering mode that produces non photorealistic images, which appear as if they were drawn by manual rendering techniques, such as oil painting, water color, or pencil hatches.

In addition to its widespread use in the architecture and 3D design worlds, form•Z and RenderZone Plus are also extensively used in Hollywood - in all production stages, in and behind the scenes (set design pre-production and construction, miniature model design, pre-vis animation, CG special effects and post-production, etc.). The following thread [2] mentions the practical use of form•Z in almost all blockbuster movies of the last decade, including successful TV productions.

Additional movie references:

Pirates of the Caribbean [3]

Victor Martinez

(Solaris, Minority Report, Cat in the Hat, Transformers, etc.) [4]

Richard Reynolds (Lecturer @ AFI, Planet of the Apes, Mission to Mars, Pearl Harbor, etc.) [5]

Oliver Scholl (Time Machine, Independence Day, Mission to Mars, Stealth, Jumper, etc.) [6]

form·Z is an award-winning general-purpose [1]

initial initial; background-repeat: initial initial; ">solid and surface modeler with an extensive set of 2D/3D form manipulating and sculpting capabilities, many of which are unique. It is an effective design tool for architects, landscape architects, urban designers, engineers, animators, illustrators and movie makers, industrial and interior designers and all other design areas. It facilitates the development and execution of projects from conception to complete detailed structures, animated and automatically fabricated. form·Z can be used on Windows as well as on Macintosh computers and in addition to English it is also available in German, Italian, Spanish, French, Greek, Korean and Japanese.

Electric Image, Inc. was initially a visual effects production company. They developed their own in-house 3D animation and rendering package for the Macintoshbeginning in the late 1980s, calling it ElectricImage Animation System. (To avoid confusion with the current product with its similar name, we will refer to this initial incarnation of the product simply as ElectricImage.)

When the company later decided to offer their software for sale to others, it quickly gained a customer base that lauded the developers for the software's exceptionally fast rendering engine and high image quality. Because it was capable of film-quality output on commodity hardware, ElectricImage was popular in the movie and television industries throughout the decade. It was used by the "Rebel Unit" at Industrial Light and Magic quite extensively and was in use by a variety of game companies.Bad Mojo, Bad Day on the Midway However, only these high end effects companies could afford it: Electric Image initially sold for US $7500.

EIAS has been used in numerous film and television productions such as Piranha 3D, Alien Trespass, Pirates of the Caribbean: The Curse of the Black Pearl, Daddy Day Care, K-19: The Widowmaker, Gangs of New York, Austin Powers: Goldmember, Men In Black II, The Bourne Identity, Behind Enemy Lines, Time Machine, Ticker, JAG - Pilot Episode, Spawn, Star Trek: First Contact, Star Trek: Insurrection, Galaxy Quest, Mission to Mars, Austin Powers: The Spy Who Shagged Me, Star Wars Episode 1: The Phantom Menace, Titan A.E., U-571, Dinosaur, Terminator 2: Judgement Day - DVD Intro, Jungle Book 2, American President, Sleepers, Star Wars Special Edition, Empire Strikes Back Special Edition, Return of Jedi Special Edition, Bicentennial Man, Vertical Limit, Elf, Blade Trinity, and Lost In Space. TV Shows: The whole Truth, Lost, Flash Forward, Fringe, Surface, Weeds, Pushing Daisies, The X-Files, Alias, Smallville, Star Trek:Next Generation, Babylon 5, Young Indiana Jones, Star Trek Voayager, Mists of Avalon, Star Trek Enterprise...'.

Electric

Image, Inc. was always a small company that produced software on the Mac platform and so never had a large a market share. Play, Inc. purchased Electric Image corporation in November 1998. The first version of EIAS released under the Play moniker was version 2.9. Play later released the 3.0 version. This was the first version to run on Windows, and to mark this move, Play renamed the package Electric Image Universe. Play was never a greatly successful company, and so Electric Image Universe stagnated during the time they owned it.

In 2000, Dwight Parscale (former CEO of Newtek) and original Electric Image founders Markus Houy and Jay Roth bought back the original company from Play Inc. On September 19, 2000, the company bought back the shares of Electric Image from Play and set about to recapture the product's former customer base. The new company released version 4.0 and 5.0 under the Electric Image moniker. Then due to a licensing problem with Spatial Technologies, they dropped the Modeler program from the version 5.5 release, and renamed the package back to Electric Image Animation System.

Versions 6.0 and 6.5 were subsequently released with vast improvements to the rendering engine and OpenGL performance. Version 6.5r2 added FBX file importing capability. 6.6 added Universal Binary support and finally drops support for Mac OS 9. Version 7.0 brought Multi-Layer Rendering, Image-Based Lighting, Raytrace Sky Maps and Rigid Body Dynamics. The current version, 8.0, added Photon Mapping, Fast soft shadows, area light, Quadratic light drop-off, EXR and 16bit image input support, Displacement Sea Level, new Weight maps tools, lots of workflow enhancement and Renderama improvements.

EI Technology Group Announces Sale of EIAS Intellectual Property

San Antonio, TX – January 12, 2010 – San Antonio based EI Technology Group (EITG) has sold the intellectual property rights of Electric Image Animation System (EIAS) to new owners Tomas Egger and the Igors . The sale includes the software applications: Animator, Camera, Renderama and all related modules. This transfer will allow accelerated development and new technologies of the software to evolve, without limiting them to EITG’s budget as it continues development of Modeler. Brad Parscale, President of EITG stated, “ This move is best for the future of EIAS. It puts the products in the hands of the artists and developers who use it most. EIAS will swiftly progress with new features as a result of this transaction.”

Transporter is a standalone program for converting 3D models from one file format to another. Primarily, it exists for importing models in formats that the other EIAS tools cannot import directly, and for exporting

models to other formats. For instance, in EIAS version 8.0, Animator supports five of the most popular model input formats, while Transporter supports 29 formats. Transporter can export a model in one of 14 different formats, most usefully the Electric Image FACT format preferred by the other EIAS components.

Modeler saves its files in Electric Image's "FACT" file format for importing into Animator (see above). It supports ACIS modeling, "ÜberNurbs" (EIAS' subdivision surfaces modeling technology), LAWS (based on parametric formulas) as well as Boolean operations and other modern modeling tools.

">Modeler last shipped in Electric Image Universe 5.0. As a result, users of EIAS 5.5 and newer use a third-party modeler instead. As of this writing, Electric Image recommends Nevercenter Silo for this purpose.Form•Z from auto•des•sys is also popularly used as a companion for EIAS.

Cobalt, at $2,995, is the high-end member of a four-member family of products. The other three Ashlar-Vellum offerings are “Graphite”, “Argon”, and “Xenon”.

• Graphite essentially inherited the feature-set of Ashlar’s flagship product, Vellum. It offers 2D and 3D wireframe drafting and equation-driven parametrics.

• Argon is the most affordable, offering 3D solid modeling (but not history-based), ray tracing, and animation.

0.3em; margin-right: 0px; margin-bottom: 0.5em; margin-left: 1.5em; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; list-style-image: url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAUAAAANCAMAAABW4lS6AAAAGXRFWHRTb2Z0d2FyZQBBZG9iZSBJbWFnZVJlYWR5ccllPAAAAAZQTFRFAFKM////QIUK9QAAAAJ0Uk5T/wDltzBKAAAAGklEQVR42mJgBAEGokgGBjBGBxBxsBqAAAMACHwALd5r8ygAAAAASUVORK5CYII=); ">

Xenon is a less capable cousin of Cobalt, offering all of the 2D and 3D solid modeling functions of Cobalt as well as ray-trace rendering and animation. However, Xenon lacks Cobalt’s geometric and equation-driven parametrics, “Associative Assembly Tools” and the mechanical parts library, nor does it support dimensioning using geometric dimensioning and tolerancing (GD&T).^[7]

Ashlar-Vellum’s patented, 23-year-old “Drafting Assistant” is the central component of Ashlar’s “Vellum interface”.^[5]

The Drafting Assistant tracks the position of the designer’s cursor and looks for nearby geometry. It then automatically displays information alongside the cursor regarding nearby geometric features to which the designer can snap. The designer can create new geometry at those snap points, or create construction lines to serve as guides. The Drafting Assistant is sensitive to the following geometric attributes:^[6]

• Centers

style="margin-bottom: 0.1em; ">Endpoints

Intersections

Midpoints

Perpendicularities

Quadrants

Tangents

Vertexes

Drafting Assistant remembers the last snaps with a weighted algorithm to intuit the designer’s intentions; thus, it is easy to snap to intersections in empty 3‑D space.

In the animation at right, the designer first snaps to the X-, Y-, and Z-axis coordinates at the midpoint of the top edge and then snaps to the same spot on the leading edge, which has different X- and Z-axis coordinates. He moves his cursor to a point in 3D space where there are no geometric attributes to snap to. Although there may be 3D surfaces underneath the cursor, Drafting Assistant intuits the designer’s intent and offers an intersection point comprising the Y- and Z-axis coordinates of the first edge and the X-axis coordinate of the nearest edge. At this location, the designer adds a circle freehand and then specifies a diameter of 200 millimeters by typing it into the box at bottom right. Last, the designer uses the “Remove profile from solid” tool to cut through the block. Here again, Drafting Assistant enables prompt definition of the depth of the cut by snapping to the back quadrant of the intersecting hole.

The Drafting Assistant also provides a “Message line” at the top. This displays instructions appropriate for the selected tool, prompts the designer with what he should do next with any given tool, and reminds the designer of optional modes for those tools.

Cobalt’s parametrics and history tracking work permits the designer to later edit the diameter and/or location of either circle—both of which have dependencies (holes in the block)—and the model updates accordingly.

Cobalt features several modes for making animation, notably “Static” (where the sun and shadows move in a stationary scene), “Walk-through,” and “Fly-by”. Cobalt is also capable of six different levels of photorealistic rendering, from “Raytrace Preview Render [Shadows Off]” through “Auto Full Render [Shadows On, Antialias]”. Choosing less realistic modes for trial animations allows very quick rendering—even those with several hundred frames—because Cobalt fully exploits multi-core microprocessors during rendering.

The click-to-play animation (upper right) shows two industrial pushbutton switches surrounded by a virtual “photo studio” in a Cobalt model. The mirrored hemisphere enables the reader to see the back wall, floor, and ceiling lights, which all contribute to the nature of the light reflecting off the switches. Face-on images of these switches were used in the development of a touchscreen-based

title="User interface" style="text-decoration: none; color: rgb(6, 69, 173); background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; background-position: initial initial; background-repeat: initial initial; ">human–machine interface (HMI) for use in industrial manufacturing settings.

To create fly-by animations, Cobalt prompts the designer to specify an path (a line or curve) for the “camera eye” to follow as well as a point at which the camera should point, and then renders the animation. A designer can specify such attributes as the angle for the camera’s field of view and can turn on settings such as perspective, which gives rendered images a vanishing point.

Whether the designer is rendering a single image or a multi-frame animation, Cobalt offers broad control of lighting, including the ability to illuminate images with sunlight wherein the date, time of day, latitude, and longitude are all user-adjustable to obtain accurate shadows.

Cobalt includes freeform Class-A

background-position: initial initial; background-repeat: initial initial; ">NURBS surface modeling for creating complex, aesthetic, or technical shapes. The self-running animation (lower right) demonstrates two capabilities of Cobalt: 1) how a limited number of control points govern complex NURBS surface geometry, and 2) demonstrates a fly-by animation produced by Cobalt whereby the “camera eye path” was attached to a 360-degree circle.

Cobalt is a parametric-based computer-aided design (CAD) and 3D modeling program that runs on both Macintosh and Microsoft Windows operating systems. The program combines the direct-modeling way to create and edit objects (exemplified by programs such as SpaceClaim) and the highly structured, history-driven parametric way exemplified by programs like Pro/ENGINEER.

Cobalt integrates

background-color: initial; background-position: initial initial; background-repeat: initial initial; ">wireframe, freeform surfacing, feature-based solid modeling, photo-realistic rendering (see Ray tracing), and animation. Cobalt, a product ofAshlar-Vellum, is history-driven with associativity and 2D equation-driven parametrics and constraints. It offers surfacing tools, mold design tools, detailing, and engineering features. Cobalt includes a library of 149,000 mechanical parts.^[1]

Cobalt’s interface, which the company named the “Vellum interface” after its eponymous flagship product, was designed in 1988 by Dr. Martin Newell ^{[Note 1]} and Dan Fitzpatrick. The central feature of the Vellum interface is its “Drafting Assistant”, which facilitates the creation and alignment of new geometry.

background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Law">law and medicine, becoming unstable due to outdated notions of 'technical-rationality' as the grounding of professional knowledge. Practitioners were able to describe how they 'think on their feet', and how they make use of a standard set of frameworks and techniques. Schon foresaw the increasing instability of traditional knowledge and how to achieve it. This is in line with the original founders of design methods who wanted to break with an unimaginative and static technical society and unify exploration, collaboration and intuition.

• Domain knowledge is a mixture of vocation (discipline) and avocation (interest) creating hybrid definitions that degrade shared knowledge
• Intellectual capital of design and wider scholarly pluralism has diluted focus and shared language which has led to ungovernable laissez-faire values
• Individual explorations of design discourse focuses too much on individual narratives leading to personal point-of-view rather than a critical mass of shared values

background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Law">law and medicine, becoming unstable due to outdated notions of 'technical-rationality' as the grounding of professional knowledge. Practitioners were able to describe how they 'think on their feet', and how they make use of a standard set of frameworks and techniques. Schon foresaw the increasing instability of traditional knowledge and how to achieve it. This is in line with the original founders of design methods who wanted to break with an unimaginative and static technical society and unify exploration, collaboration and intuition.

• Domain knowledge is a mixture of vocation (discipline) and avocation (interest) creating hybrid definitions that degrade shared knowledge
• Intellectual capital of design and wider scholarly pluralism has diluted focus and shared language which has led to ungovernable laissez-faire values
• Individual explorations of design discourse focuses too much on individual narratives leading to personal point-of-view rather than a critical mass of shared values

href="http://en.wikipedia.org/wiki/Design_management" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Design management">Design management focuses on how to define design as a business function and provides a language and method of how to effectively manage it.

title="Strategy">Strategy began to be redefined from an MBA-focused domain into an area both technology and brand/creative professionals moved upstream and engaged as up-front strategy. Other professionals were incorporated from cognitive science, ethnography, and library science (to name a few). Inherent in these groups were rigorous research-based methods which were overlaid onto business, technology and brand/creative. User-centric approaches were developed resulting in the creation of whole workflow systems to accommodate diversity in skills and tools. These diverse groups brought markedly different languages and models native to their disciplines which posed significant integration-challenges, including hours, in determining how to work together.

permits rapid access to all published information . . .The nett (sic) effect is expected to be one of mutual stimulation in which open minded people and progammes nudge each other into unpredictable, novel but realistic explorations . . .".^[9]

argument was viewed by John Chris Jones, who recognized the "logical, systematic, behavioristic, operational aspects of new methods" (which could be viewed as science) might be seen as "anti-life" which treat people as "instruments." On the other side, another group may define design with "animism, vitalism and naturalism" as a language (which could be viewed as art). Jones sought to bring both together and act as checks-and-balances for design methods.

style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Unimark International">Unimark International, the world’s largest global design firm during the 1960s with offices in seven countries. In 1972, Doblin formed Chicago-based Jay Doblin & Associates, a firm which managed innovative programs for Xerox Corporation and General Electric.^[6] Doblin was prolific at developing a language to describe design. One of his best articles was "A Short, Grandiose Theory of Design", published in the 1987 Society of Typographic Arts Design Journal. In seven pages, Doblin presents a straightforward and persuasive argument for design as a systematic process. He described the emerging landscape of systematic design:

• For large complex projects, it "would be irresponsible to attempt them without analytical methods" and rallied against an "adolescent reliance on overly intuitive practices."
• He separated "direct design" in which a craftsperson works on the artifact to "indirect design" in which a design first creates a representation of the artifact, separating design from production in more complex situations.

• Direct investigation of human circumstances to draw out impressions
• Engagement by client-side and end-user participants in design process
• Open articulation by practitioners of multiple disciplines facilitated by design