The Five Stages of Grief

The Five Stages of Grief Stress Management Effects on Health Print The Five Stages of Grief Learning about emotions after loss can help us heal By Jodi Clarke, MA, LPC/MHSP twitter linkedin Jodi Clarke, LPC/MHSP is a licensed professional counselor and mental health service provider with over 20 years of experience in the field. Learn about our editorial policy Jodi Clarke, MA, LPC/MHSP Reviewed by Reviewed by Amy Morin, LCSW on January 26, 2020 facebook twitter instagram Amy Morin, LCSW, is a psychotherapist, author of the bestselling book 13 Things Mentally Strong People Dont Do, and a highly sought-after speaker. Learn about our Wellness Board Amy Morin, LCSW on January 26, 2020 More in Stress Management Effects on Health Management Techniques Situational Stress Job Stress Household Stress Relationship Stress In This Article Table of Contents Expand Denial Anger Bargaining Depression Acceptance Types of Grief How to Help View All Back To Top When we lose a loved one, the pain we experience can feel unbearable. Understandably, grief is complicated and we sometimes wonder if the pain will ever end. We go through a variety of emotional experiences such as anger, confusion, and sadness. A theory developed by psychiatrist Elisabeth Kübler-Ross suggests that we go through five distinct stages of grief after the loss of a loved one: Denial, anger, bargaining, depression, and finally acceptance.?? Illustration by Emily Roberts, Verywell? Denial The first stage in this theory, denial can help us to minimize the overwhelming pain of loss. As we process the reality of our loss, we are also trying to survive emotional pain. It can be hard to believe we have lost an important person in our lives, especially when we may have just spoken with this person the previous week or even the previous day. Our reality has shifted completely in this moment of loss. It can take our minds some time to adjust to this new reality. Denial is not only an attempt to pretend that the loss does not exist. We are also trying to absorb and understand what is happening. We are reflecting on experiences we have shared with the person we lost, and we might find ourselves wondering how to move forward in life without this person. This is a lot of information to explore and a lot of painful imagery to process. Denial attempts to slow this process down and take us through it one step at a time, rather than risk the potential of feeling overwhelmed by our emotions. Anger it is common for people to experience anger after the loss of a loved one. We are trying to adjust to a new reality and we are likely experiencing extreme emotional discomfort. There is so much to process that anger may feel like it allows us an emotional outlet. Keep in mind that anger does not require us to be very vulnerable. However, it tends to be more socially acceptable than admitting we are scared. Anger allows us to express emotion with less fear of judgment or rejection. Unfortunately, anger tends to be the first thing we feel when we start to release emotions related to loss. This can leave you feeling isolated in your experience and perceived as unapproachable by others in moments when we could benefit from comfort, connection, and reassurance. How Anger Can Affect Your Health Bargaining It is common when coping with loss to feel so desperate that you are willing to do almost anything to alleviate or minimize the pain. Losing a loved one can cause us to consider any way we can avoid the current pain or the pain we are anticipating from loss. There are many ways we may try to bargain. Bargaining can come in a variety of promises including: I promise to be better if you will let this person live.God, if you can heal this person I will turn my life around.Ill never get angry again if you can stop him/her from dying or leaving me. When bargaining starts to take place, we are often directing our requests to a higher power, or something bigger than we are that may be able to influence a different outcome. There is an acute awareness of our humanness in these moments when we realize there is nothing we can do to influence change or a better outcome. This feeling of helplessness can cause us to react in protest by bargaining, which gives us a perceived sense of control over something that feels so out of control. While bargaining we also tend to focus on our personal faults or regrets. We might look back at our interactions with the person we are losing and note all of the times we felt disconnected or may have caused them pain. It is common to recall times when we may have said things we did not mean, and wish we could go back and behave differently. We also tend to make the drastic assumption that if things had played out differently, we would not be in such an emotionally painful place in our lives. How to Cope with Negative Emotions Depression During our experience of processing grief, there comes a time when our imaginations calm down and we slowly start to look at the reality of our present situation. Bargaining no longer feels like an option and we are faced with what is happening. We start to feel more abundantly the loss of our loved one. As our panic begins to subside, the emotional fog begins to clear and the loss feels more present and unavoidable. In those moments, we tend to pull inward as the sadness grows. We might find ourselves retreating, being less sociable, and reaching out less to others about what we are going through. Although this is a very natural stage of grief, dealing with depression after the loss of a loved one can be extremely isolating. Acceptance When we come to a place of acceptance, it is not that we no longer feel the pain of loss. However, we are no longer resisting the reality of our situation, and we are not struggling to make it something different. Sadness and regret can still be present in this phase, but the emotional survival tactics of denial, bargaining, and anger are less likely to be present. Types of Grief As we consider the five stages of grief, it is important to note that people grieve differently and you may or may not go through each of these stages, or experience each of them in order. The lines of these stages are often blurredâ€"we may move from one stage to the other and possibly back again before fully moving into a new stage. In addition, there is no specific time period suggested for any of these stages. Someone may experience the stages fairly quickly, such as in a matter of weeks, where another person may take months or even years to move through to a place of acceptance. Whatever time it takes for you to move through these stages is perfectly normal. Your pain is unique to you, your relationship to the person you lost is unique, and the emotional processing can feel different to each person. It is acceptable for you to take the time you need and remove any expectation of how you should be performing as you process your grief. Additional Models Although the five stages of grief developed by Elisabeth Kübler-Ross is considered one of the most easily recognizable models of grief and bereavement, there are other models of grief to be noted as well.?? Each model or theory works to explain patterns of how grief can be perceived and processed. Researchers on grief and bereavement hope to use these models to provide understanding to those who are hurting over the loss of a loved one, as well as offer information that can help those in the healing professions provide effective care for those in need of informed guidance. The following are additional examples of theories related to grief. Attachment Theory and Grief Legendary psychologist John Bowlby focused his work on researching the emotional attachment between parent and child.?? From his perspective, these early experiences of attachment with important people in our lives, such as caregivers, help to shape our sense of safety, security, and connections. British psychiatrist Colin Murray Parkes developed a model of grief based on Bowlbys theory of attachment, suggesting there are four phases of mourning when experiencing the loss of a loved one:?? Shock and Numbness. Loss in this phase feels impossible to accept. Most closely related to Kübler-Rosss stage of denial, we are overwhelmed when trying to cope with our emotions. Parkes suggests that there is physical distress  experienced in this phase as well, which can lead to somatic (physical) symptoms.Yearning and Searching. As we process loss in this phase, we may begin to look for comfort to fill the void our loved  one has left. We may try to do so by reliving memories through pictures and by looking for signs from the person to feel connected to them. In this phase, we become very preoccupied with the person we have lost.Despair and Disorganization. We may find ourselves questioning and feeling angry in this phase. The realization that our loved one is not returning feels real, and we can have a difficult time understanding or finding hope in our future. We may feel a bit aimless in this phase and find that we retreat from others as we process our pain.Reorganization and R ecovery. As we move into this phase, our life feels more hopeful. We may begin to feel like our hearts and minds can be restored. As with Kübler-Rosss acceptance stage, this phase of reorganization and recovery does not mean that we will not still feel sadness or longing for our loved one. However, this phase offers us a place of healing and reconnecting with important people in our lives for support. We find small ways to reestablish a sense of normalcy in our lives on a daily basis. How to Help Avoid Rescuing or Fixing It can be so difficult to know what to say to someone who has experienced loss. We do our best to offer comfort, but sometimes our best efforts can feel inadequate and unhelpful. One thing to remember is that the person who is grieving does not need to be fixed. In our attempts to be helpful, we tend to try to rescue people from their pain so they will feel better. We provide uplifting, hopeful comments or even try to offer them humor to help ease their pain. Although the intention is positive, this approach can leave people feeling as if their pain is not seen, heard, or valid. Dont Force It Another method people often use that tends to go wrong is forcing people to talk about their pain when they are not ready. We want so much to help and for the person to feel better, so we believe that nudging them to talk and process their emotions will help them faster. This is not necessarily true, and it can actually be an obstacle to their healing. Make Yourself Accessible One of the most helpful things we can do is to offer space for people to grieve. In doing this, we are letting the person know that we are available and accessible when they are ready to talk. We can invite them to talk with us, but remember to provide understanding and validation if they are not ready to talk just yet. At that point, you can remind them that you are available when they feel ready and not to hesitate to come to you. A Word From Verywell It is important to remember that everyone copes with loss differently. While you may find that you experience all five stages of grief, you may also find that it is difficult to classify your feelings into any one of the stages. Have patience with yourself and your feelings in dealing with loss. Allow yourself time to process all of your emotions, and when you are ready to speak about your experiences with loved ones or a healthcare professional, do so. If you are supporting someone who has lost a loved one, remember that you dont need to do anything specific, but allow them room to talk about it when they are ready. Making Life Decisions After Experiencing Loss

A Short Note On Mary Poppinss Artemis House - 1800 Words

Ms. Mary Poppins entered Artemis House on November 12th, 2014. The client Ms. Poppins was fleeing from a domestic violence situation with her husband, her husband and his friend tried to cause harm to her by attempting to run her with an automobile. Ms. Poppins is a 33 year old female who emigrated from Egypt in 2008. The client does not speak proficient English, her primary language is Arabic with an Egyptian dialect. The client was born and raised in Egypt and married her abuser in Egypt as a result of an arranged marriage. The client has two daughters who are currently under the custody of their father, her husband. The client had just recently got the knowledge of her daughters’ whereabouts, previously her daughters were taken away from her from social services and were temporarily placed in foster care. Because of the language barrier, the client assaulted a social services worker which led to her arrest and the separation of her children. The social services worker took away her daughters and they were placed in foster care till the father found them and took custody of them. The client has been married to her abuser for over six years and the abuse started as soon as she came to America. The client, Ms. Poppins, found out that her husband is married to another woman and has two older sons with her. The arguments and abuse started after she had found out that he was married, he would hit her and take away her daughters for hours a day without stating his

Teaching Curriculum Should Be Implemented Using A Variety...

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Survival Skills Free Essays

Emergency Planning Immediately after an emergency, essential services may be cut-off and local disaster relief and government responders may not be able to reach you right away. Even if they could reach you, knowing what to do to protect yourself and your household is essential. Creating a disaster plan One of the most important steps you can take in preparing for emergencies is to develop a household disaster plan. We will write a custom essay sample on Survival Skills or any similar topic only for you Order Now 1. Learn about the natural disasters that could occur in your community from your local emergency management office. Learn whether hazardous materials are produced, stored or transported near your area. Learn about possible consequences of deliberate acts of terror. Ask how to prepare for each potential emergency and how to respond. 2. Talk with employers and school officials about their emergency response plans. 3. Talk with your household about potential emergencies and how to respond to each. Talk about what you would need to do in an evacuation. 4. Post emergency telephone numbers by telephones. Teach children how and when to call 100. Emergency planning for people with special needs If you have a disability or special need, you may have to take additional steps to protect yourself and your household in an emergency. If you know of friends or neighbors with special needs, help them with these extra precautions. Examples include:Hearing impaired, Mobility impaired, Non-English speaking people. 1. Create a network of neighbors, relatives, friends and co-workers to aid you in an emergency. Discuss your needs and make sure they know how to operate necessary equipment. 2. If you live in an apartment building, ask the management to mark accessible exits clearly and to make arrangements to help you evacuate the building. 3. Those who are not disabled should learn who in their neighborhood or building is disabled so that they may assist them during emergencies. Disaster Supply Kits You may need to survive on your own for three days or more. This means having your own water, food and emergency supplies. Try using backpacks or duffel bags to keep the supplies together. A disaster supply kit with essential ood, water, and supplies for at least three days-this kit should be kept in a designated place and be ready to â€Å"grab and go† in case you have to leave your home quickly because of a disaster. You should also have a disaster supply kit at work. This should be in one container, ready to â€Å"grab and go† in case you have to evacuate the building. Water: the absolute necessity Stocking water reserves should be a top priority. Drinking wat er in emergency situations should not be rationed. Store water in thoroughly washed plastic, fiberglass or enamel lined metal containers. Food: preparing an emergency supply. Food items that you might consider including in your disaster supply kit include: ready-to-eat meats, fruits, and vegetables; canned or boxed juices, milk, and soup; high-energy foods like peanut butter, jelly, low-sodium crackers, granola bars, and trail mix; vitamins; foods for infants or persons on special diets; cookies, hard candy; instant coffee, cereals, and powdered milk. You may need to survive on your own after a disaster. Local officials and relief workers will be on the scene after a disaster, but they cannot reach everyone immediately. You could get help in hours, or it may take days. Basic services, such as electricity, gas, water, sewage treatment and telephones, may be cut off for days, even a week or longer. Or you may have to evacuate at a moment’s notice and take essentials with you. You probably won’t have the opportunity to shop or search for the supplies you’ll need. Your household will cope best by preparing for disaster before it strikes. First aid supplies Assemble a first aid kit for your home and for each vehicle: It may be difficult to obtain prescription medications during a disaster because stores may be closed or supplies may be limited. Ask your physician or pharmacist about storing prescription medications. Be sure they are stored to meet instructions on the label and be mindful of expirations dates -be sure to keep your stored medication up to date. Clothes and bedding One complete change of clothing and footwear for each household member. Shoes should be sturdy work shoes or boots. It is important for you to be ready, wherever you may be when disaster strikes. With the checklists above you can now put together an appropriate disaster supply kits for your household: A disaster supply kit kept in the home with supplies for at least three days; Although it is unlikely that food supplies would be cut off for as long as two weeks, consider storing additional water, food, clothing and bedding other supplies to expand your supply kit to last up to two weeks. A work place disaster supply kit. It is important to store a personal supply of water and food at work; you will not be able to rely on water fountains or coolers. Women who wear high-heels should be sure to have comfortable flat shoes at their workplace in case an evacuation require walking long distances. A car disaster supply kit. Keep a smaller disaster supply kit in the trunk of you car. If you become stranded or are not able to return home, having these items will help you be more comfortable until help arrives. Add items for sever winter weather during months when heave snow or icy roads are possible-salt, sand, shovels, and extra winter clothing, including hats and gloves. ————————————————- Navigation ————————————————- Survival situations are sometimes resolved by finding one’s way to safety, or one may need to move to find a more suitable location to wait for rescue. The sources observe that to do either of these safely requires some navigation equipment and skills. Types of navigation include: ————————————————- Celestial navigation, using the sun and the night sky to locate the cardinal directions and to maintain course of travel ————————————————- Using a  map and compass  together, particularly a  topographic map  or  trail map. ————————————————- â€Å"Navigation by observation† of terrain features on a map or otherwise known ————————————————- Using a  GPS  receiver, if one is availab le. How to cite Survival Skills, Papers

Milton Friedman Essays - Conservatism In The United States

Milton Friedman Milton Friedman has been credited with many different achievements, including being one of the most effective advocates of economic freedoms and free enterprise, being the greatest economist to ever walk the face of the earth, and proving every single word that Lord Maynard Keynes ever said to be wrong. Why these may or may not all be true, it is obvious that Friedman was a brilliant man of many accomplishments. Milton Friedman was born on July 15th, 1912 in New York City. His parents were poor immigrants and his father died when he was a senior in high school. Despite all of these obstacles he had to overcome, Friedman received a scholarship to Rutgers University and got his B.A., an M.A. in 1933 from the University of Chicago, and a Ph.D. in 1946 from Columbia University. He worked as a research assistant to Henry Schultz at University of Chicago until 1937 when he started working with the National Bureau of Economics. There he jointly published the book Incomes from Independent Professional Practice with Simon Kuznets, which also served as his doctoral dissertation at Columbia. This book introduced the concepts of permanent and transitory income. In 1933 Milton Friedman met Rose Director, a fellow Economics student, and six years later they were married. Rose and Milton have collaborated on quite a few books and essays, and have established the Milton & Rose D. Friedman foundation, which promotes School Choice, which will be explained in more detail later. In 1976 Milton Friedman won the Nobel Prize in Economic Sciences for his achievements in the fields of consumption analysis, monetary history and theory, and for his demonstration of the complexity of stabilization policy. Milton Friedman coined the terms only money matters as his emphasis on the role of monetary policy in the United States economy. Friedman is perhaps the most effective advocate for free enterprise and monetarist policies from 1945-1985. His only rival among economists of the 20th century would have to be Keynes. As well as being a Nobel Prize winner and just an overall brilliant man, Friedman served as Senator Barry Goldwater's informal economic advisor in 1964 and for Richard Nixon in 1968, then as President Nixon's advisor. He served as President Reagan's Economic Advisor on his Advisory Board in 1981. Friedman was awarded the Presidential Medal of Freedom in 1988 and received the National Medal of Science the same year. He was also a member of the Presidents Commission on an All-Volunteer Armed Force and the Presidents Commission on White House Fellows. He is a past president of the American Economic Association, the Western Economic Association, and the Mont Pelerin Society and is a member of the American Philosophical Society and the National Academy of Sciences. Friedman was awarded with many honorary degrees by universities in the United States, Japan, Israel, and Guatemala, as well as the Grand Cordon of the First Class Order of the Sacred Treasure by the Japanese government in 1986. He is known as the leader of the Chicago School of monetary economics. Milton Friedman is the author of many books and two public television series that he did with his wife Rose: Free to Choose(1980) and Tyranny of the Status Quo(1984). His most important books include Free to Choose and Tyranny of the Status Quo( both of which compliment the TV series), Capitalism and Freedom(1962 with Rose D. Friedman); and Bright Promises, Dismal Performance (1983), which consists mostly of reprints of tri-weekly columns that he wrote for Newsweek from 1966 to 1983. Also, A Theory of the Consumption Function(1957) and A Monetary History of the U.S.(1963 with A.J. Schwartz). Milton Friedman has a primary belief in the tenet of limited government. He describes himself as classic liberalism. Today's liberalism views are very opposite to Friedman's, and therefore he is often considered a Republican Libertarian, as conservative is really to narrow a label to encompass his other views of a limited government. Friedman's belief in a limited government is supported by his desires to restrict the scope of government's authority in the lives of individuals and to decentralize the power base of government to prevent a person's unwanted entanglements with a federal bureaucracy. Friedman's belief is that any one

What Are the 7 Principles of Design

What Are the 7 Principles of Design SAT / ACT Prep Online Guides and Tips If you’re taking any of AP Art courses, like 2-D or 3-D studio art, you absolutely have to understand the core principles of design. That’s because the elements and principles of design are a foundational element of great art! In this article, we’re going to teach you everything you need to know about the seven principles of design, including: An overview of the principles of design An introduction to key concepts An in-depth look at each of the principles one-by-one Three top tips for incorporating these principles into your own work Let’s get started! What Are the Principles of Design? If you’ve ever played a sport, then you know that there are some fundamental rules that you have to follow if you want to be successful. For example, if you play soccer, then you know that one of the rules is that you have to kick the ball into the opposing team’s goal in order to score a point! While you don’t have to follow this rule- your team could just kick the ball to one another for 90 minutes- you’ll have a much better chance of winning if you do. The principles of design are a lot like the rules of a sport. That’s because the principles of design are the rules and principles that artists and designers use to create visual compositions. Artists use these principles to make sure whatever they’re making accurately and effectively delivers their intended message to their audience. 2Key Concepts: Visual Language and Design In order to understand the principles of design, you first have to have a handle on two key concepts: visual language and design in general. Visual language is the idea that we communicate through visual symbols. For example, take a look at the clothes you’re wearing. Do they have a logo on them, like the Nike â€Å"swoosh† or the Ralph Lauren â€Å"polo pony†? If they do, you’re participating in visual language! Visual language is the way that designers and artists communicate messages and meaning through their work. They can use things like colors, lines, and shapes to make you feel or think a certain way. And since this is the ultimate goal of design, it’s important to understand how visual language works! The second key concept is the definition of design itself. You probably hear the term thrown around a lot, whether it’s about the design of the newest Tesla car or the launch of a new designer clothing label. But when it comes to principles of design, the term â€Å"design† has a very specific definition. In this case, design is the process of selecting and organizing elements or components in order to fulfill a specific purpose. This purpose may be functional, aesthetic, or both! So when we talk about design in this article, we’re specifically talking about how design elements are used to support the artist’s ultimate goal, whether that’s marketing a product, telling a story, or creating the next great artistic masterpiece. What Are the Principles of Design Used For? Artists use the principles of design to make sure that the work they’re creating...well, works. For instance, let’s say a graphic designer is supposed to create a poster for a presidential candidate. It’s going to be really important for the designer to use the principles of design during their design process to ensure the finished poster is visually communicating the right message to potential voters. The same holds true for fine art, too. Artists paint, sculpt, and create in order to communicate with their viewers. Let’s say an artist is worried about how much Americans consume on a daily basis. That may become the subject of their work, and they’ll pay close attention to how their finished piece speaks to viewers about issues of capitalism. (A good example of how opinions on topics like consumerism and capitalism can be expressed through fine art is the painting â€Å"Landscape,† by American painter Mark Tansey.) On the flip side, these principles are also used to determine whether a piece of art is a success or failure. When a visual composition uses the principles of design well, it will succeed in fulfilling its purpose (whatever that purpose might be). But just because a work is successful doesn’t mean you have to like it. That’s because liking or disliking a visual piece involves your personal taste. The difference between the principles of design and taste is important. As an artist, it's important to separate your work from taste. This is true for many commercial artists, where their clients’ tastes might not reflect their own. Even fine artists need to be able to do this so that they aren’t conforming their art to others’ tastes. For a critic, the separation helps them make better judgements. While there’s no real objective way to critique art, the principles of design provide a kind of rubric for assessing whether a piece of art functions. It might make more sense to think of this in terms of baking. Let’s say you’re judging a cookie baking contest, and when you go to taste one cookie, it’s actually a small, round pizza. The baker argues that you should consider it a cookie: it’s small, flat, round, and baked in an oven. But just because the pizza lines up with the qualifications of a cookie in some ways, it’s missing some other important criteria: it’s not sweet, it’s not cake-like, and it’s certainly not dessert. At the end of the day, a pizza just isn’t a cookie. The seven principles of design work the same way. Critics can use them as a measuring stick for art. If the goal of art is to communicate a message, then the fundamentals of design give critics a way of checking whether an art piece does so effectively. For critics, the seven principles of design also help ensure they aren’t labeling works as â€Å"bad† just because they don’t suit their personal tastes, too. The 7 Principles of Design: Explained Now that you’re familiar with the ideas behind the principles of design, let's take a closer look at each of the seven principles. How an artist uses these elements is important to the overall quality and effectiveness of their work. One quick note: if you Google the principles of design, you’ll find lists that feature five, six, or even eleven principles! That’s because there’s not 100 percent consensus on what the fundamental principles of design are. So to create our list, we picked the principles that appeared the most often across the widest variety of sources. Ginevra de'Benci by Leonardo da Vinci Principle 1: Contrast Just like in literature, visual contrast happens when different elements of a piece are noticeably different from one another. When contrasting elements are juxtaposed, or place next to one another, it draws the viewer’s attention. One of the common ways artists do this is by using contrasting colors close to one another. (These are colors that appear on opposite sides of the color wheel from one another.) But this can also be done through the size or types of objects, too. Take a look at Leonardo da Vinci’s work, Ginevra de’ Benci, pictured above. Notice the contrast of the woman’s skin against the dark background of the trees. Da Vinci uses contrast to draw your eye to what he considers to be the most important part of the piece- the woman’s face. Jurassic Park/Universal Pictures Principle 2: Emphasis Emphasis is important for helping viewers see the most important part of a visual design. Oftentimes, we don’t notice emphasis when it’s done well...but it definitely stands out when it’s done poorly! For example, think about the billboards you see when you drive down the highway. The best ones put the most important information in big, bold letters, or use a related image to capture your attention. But when the type is too small or the images are too cluttered, the advertisement doesn’t work as well. The movie poster for Jurassic Park is a great example of emphasis. It puts the most important information front-and-center: from a glance, you know that title and opening date of the movie. But the prominent outline of a skeleton also gives you a pretty good idea of what the movie is going to be about. (Spoiler alert: it’s about dinosaurs!) It’s important to note that emphasis is closely linked to other principles of design. For example, the Jurassic Park poster uses contrast and space to create emphasis. Other posters, like this one for Gravity, use movement, space, and contrast to do the same thing. Principle 3: Pattern Pattern happens when an object, image, or symbol is uniformly repeated throughout a visual composition. Anything can be turned into a pattern, though some classic examples include intersecting lines, shapes, and spirals. Patterns can do many things for a design. It can set the tone for the piece, like if the background features a 70s mod pattern or a repeating image, like an animal. A pattern can also set the stage for other design elements, like contrast or emphasis. In the image above, you can see how the star pattern combines with contrast to reveal a patriotic star, which becomes the emphasis of the advertisement. Principle 4: Repetition In design, repetition is used to unify and strengthen a design. Unlike a pattern, where one thing is repeated consistently throughout a design, repetition is the repeated use of certain elements, like color, shape, or font. When repetition is used correctly, it creates consistency in a design. As a brand, Target Stores are famous for their use of repetition. They use color repetition to help viewers immediately associate an advertisement with their store. A good example of this is the advertisement above, which uses the repetition of colors and shapes (the concentric circles of the Target logo) to reiterate their brand. Starry Night by Vincent Van Gogh Principle 5: Movement It can seem strange to talk about movement when some visual compositions are still images. But movement as a principle of design is about the movement of a viewer’s eye across a work. Good art leads the viewer from one important element to the next. If a viewer’s eye tends to get stuck in one place, it’s a sign that some of the principles of design aren’t working quite right! Using movement as a part of your design process has an added benefit: it helps viewers feel connected to what they’re seeing. Starry Night by Vincent Van Gogh is an excellent example of movement in action. In this painting, the swirls of color in the sky carry the viewer’s gaze from left to right, which makes you feel like you’re experiencing the night breeze. But on a mechanical level, Van Gogh’s brush strokes create movement, too. The sweeping lines on the mountains, for example, help[ bring your eye to the village, and following the vertical lines on the plant in the foreground return your gaze back to the sky. Steve Jobs Tribute by Jonathan Mak Principle 6: Space In design, space refers to the area around different visual elements. There are two types of space: positive space and negative space. Positive space is the area that the subject of the composition occupies. If you go back to da Vinci’s portrait above, you’ll see that the woman occupies a lot of the portrait’s positive space. As a designer, you use positive space to display the most important elements of your design. On the other hand, negative space- which is sometimes called â€Å"white space†- is the space around objects! If you look back at the Jurassic Park poster, all of the black surrounding the central image and the other copy is a textbook example of negative space. Negative space can be tricky for designers since it seems empty, but it’s actually helping to create emphasis. It helps viewers quickly discern what’s important while also giving a design â€Å"room to breathe.† Positive and negative space work together to create emphasis and visual appeal. Check out the piece above by graphic designer Jonathan Mak, which he made as a memorial to Steve Jobs after his death. He plays with the negative space of the Apple logo, turning the normal bite mark into the profile of the company’s late founder. Principle 7: Balance Now it’s time to talk about the last (but perhaps most important) principle of design: balance. Every element in a visual composition carries weight. The more an element is emphasized, the heavier it is. A designer’s goal is to balance the weight of each object on the canvas in order to create a feeling of balance for the viewer. There are two ways to do this: through symmetrical balance and through asymmetrical balance. Symmetrical balance adds objects to both sides of the center of a work to create symmetry. You can think of this as balancing a set of old-timey scales. You have to add the same amount of weight to each side to keep them level! Asymmetrical balance happens when objects and elements aren’t spread evenly across the composition, but how they’re placed creates a sense of balance anyway. Oftentimes, asymmetrical balance helps create a sense of movement and draws your eye from one element to another. In the photo above, you can see asymmetrical balance at work. The hand and donut are in the bottom of the image, and there’s no identical image at the top! The balance here comes from the amount of negative space in the photo. By limiting the emphasized image to a small part of the picture, the photo maintains its balance. The 3 Best Tips for Using the Principles of Design So how can you use the principles of design in your own work? Here are our three top tips for using principles of design to take your art to the next level. Tip 1: Embrace Negative Space Like we mentioned earlier, it’s tempting to fill up every corner of a composition with something. After all, we often think of space as â€Å"wasted,† right? But remember: negative space is incredibly important to helping the more important elements of a work shine. A good way to do this is to follow the advice of Coco Chanel, the famous French fashion designer, who famously said: â€Å"Before you leave the house, look in the mirror and take one thing off.† Take a step back and look at your composition. Is there something you can take off, shrink, or move that will help create more balance and space in your work? Tip 2: Rethink the Axis of Symmetrical Balance When it comes to symmetrical balance, we sometimes think about it like a Rorschach test where the balance of an image is either left/right or top/bottom. But in fact, the axis of balance for a visual composition can bisect the image at any angle. Take a look at the picture above. The line of symmetry is on a diagonal from bottom right to top left. The image is still balanced, but the axis is tilted, which gives the image a lot more visual interest. It also comes across as more modern, too! Tip 3: Take a Step Back When you’re working on a composition, you’re normally pretty up close and personal with it. But that can sometimes skew your perspective of the piece as a whole. That’s why one of the best ways to see if a composition works is to view it from a distance. (This is especially true if your composition is meant to be viewed from a distance, like with a large painting or advertisement.) Backing away from the screen or canvas will blur the elements together and help you get a better sense of whether the contrast, movement, and balance of a piece communicates your message. What's Next? Are you looking for more AP classes to take before applying for college? Here’s a list of every AP class (and test!) But be careful: AP classes can be more challenging than their general education counterparts. Get the inside information on how hard AP classes really are so you can make sure you’re balancing a challenging schedule with making good grades. So what’s the benefit to taking AP courses? Well, most high schools in the United States add points to your final grade to create a weighted average. Learn more about weighted averages and how they affect things like your graduation rank and college admissions chances here.

How to Place a Checkbox Into a DBGrid

How to Place a Checkbox Into a DBGrid There are numerous ways and reasons to customize the output of a DBGrid in Delphi. One way is to add checkboxes so that the result is more visually attractive. By default, if you have a boolean field in your dataset, the DBGrid displays them as True or False depending on the value of the data field. However, it looks much better if you choose to use a true checkbox control to enable editing the fields. Create a Sample Application Start a new form in Delphi, and place a TDBGrid, TADOTable, and TADOConnection, TDataSource. Leave all the component names as they are when they were first dropped into the form (DBGrid1, ADOQuery1, AdoTable1, etc.). Use the Object Inspector to set a ConnectionString property of the ADOConnection1 component (TADOConnection) to point to the sample QuickiesContest.mdb MS Access database. Connect DBGrid1 to DataSource1, DataSource1 to ADOTable1, and finally ADOTable1 to ADOConnection1. The ADOTable1 TableName property should point to the Articles table (to make the DBGrid display the records of the Articles table). If you have set all the properties correctly, when you run the application (given that the Active property of the ADOTable1 component is True) you should see, by default, the DBGrid display the boolean fields value as True or False depending on the value of the data field. CheckBox in a DBGrid To show a checkbox inside a cell of a DBGrid, well need to make one available for us at run time. Select the Data controls page on the Component Palette and pick a TDBCheckbox. Drop one anywhere on the form - it doesnt matter where, since most of the time it will be invisible or floating over the grid. Tip: TDBCheckBox is a data-aware control that allows the user to select or deselect a single value, which is appropriate for boolean fields. Next, set its Visible property to False. Change the Color property of DBCheckBox1 to the same color as the DBGrid (so it blends in with the DBGrid) and remove the Caption. Most importantly, make sure the DBCheckBox1 is connected to the DataSource1 and to the correct field. Note that all the above DBCheckBox1s property values can be set in the forms OnCreate event like this: procedure TForm1.FormCreate(Sender: TObject);begin DBCheckBox1.DataSource : DataSource1; DBCheckBox1.DataField : Winner; DBCheckBox1.Visible : False; DBCheckBox1.Color : DBGrid1.Color; DBCheckBox1.Caption : ; //explained later in the article DBCheckBox1.ValueChecked : Yes a Winner!; DBCheckBox1.ValueUnChecked : Not this time.; end; What comes next is the most interesting part. While editing the boolean field in the DBGrid, we need to make sure the DBCheckBox1 is placed above (floating) the cell in the DBGrid displaying the boolean field. For the rest of the (non-focused) cells carrying the boolean fields (in the Winner column), we need to provide some graphical representation of the boolean value (True/False). This means you need at least two images for drawing: one for the checked state (True value) and one for the unchecked state (False value). The easiest way to accomplish this is to use the Windows API DrawFrameControl function to draw directly on the DBGrids canvas. Heres the code in the DBGrids OnDrawColumnCell event handler that occurs when the grid needs to paint a cell. procedure TForm1.DBGrid1DrawColumnCell( Sender: TObject; const Rect: TRect; DataCol: Integer; Column: TColumn; State: TGridDrawState); const IsChecked : array[Boolean] of Integer (DFCS_BUTTONCHECK, DFCS_BUTTONCHECK or DFCS_CHECKED);var DrawState: Integer; DrawRect: TRect;beginif (gdFocused in State) thenbeginif (Column.Field.FieldName DBCheckBox1.DataField) thenbegin DBCheckBox1.Left : Rect.Left DBGrid1.Left 2; DBCheckBox1.Top : Rect.Top DBGrid1.top 2; DBCheckBox1.Width : Rect.Right - Rect.Left; DBCheckBox1.Height : Rect.Bottom - Rect.Top; DBCheckBox1.Visible : True; endendelsebeginif (Column.Field.FieldName DBCheckBox1.DataField) thenbegin DrawRect:Rect; InflateRect(DrawRect,-1,-1); DrawState : ISChecked[Column.Field.AsBoolean]; DBGrid1.Canvas.FillRect(Rect); DrawFrameControl(DBGrid1.Canvas.Handle, DrawRect, DFC_BUTTON, DrawState); end; end; end; To finish this step, we need to make sure DBCheckBox1 is invisible when we leave the cell: procedure TForm1.DBGrid1ColExit(Sender: TObject);beginif DBGrid1.SelectedField.FieldName DBCheckBox1.DataField then DBCheckBox1.Visible : Falseend; We need just two more events to handle. Note that when in editing mode, all keystrokes are going to the DBGrids cell, we have to make sure they are sent to the CheckBox. In the case of a CheckBox we are primarily interested in the [Tab] and the [Space] key. [Tab] should move the input focus to the next cell, and [Space] should toggle the state of the CheckBox. procedure TForm1.DBGrid1KeyPress(Sender: TObject; var Key: Char);beginif (key Chr(9)) then Exit; if (DBGrid1.SelectedField.FieldName DBCheckBox1.DataField) thenbegin DBCheckBox1.SetFocus; SendMessage(DBCheckBox1.Handle, WM_Char, word(Key), 0); end;end; It could be appropriate for the Caption of the checkbox to change as the user checks or unchecks the box. Note that the DBCheckBox has two properties (ValueChecked and ValueUnChecked) used to specify the field value represented by the checkbox when it is checked or unchecked. This ValueChecked property holds Yes, a Winner!, and ValueUnChecked equals Not this time. procedure TForm1.DBCheckBox1Click(Sender: TObject);beginif DBCheckBox1.Checked then DBCheckBox1.Caption : DBCheckBox1.ValueChecked else DBCheckBox1.Caption : DBCheckBox1.ValueUnChecked;end; Run the project and youll see the checkboxes all over the Winner fields column.