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kodGreya [7K]
2 years ago
14

A circular logo has the company name in a font similar to Arial in white, all capital letters in a green circle around a drawing

of a woman.
Look at this design closely. Which of the following is true?
a.
It is an advertisement that is not recognizable to the general public.
b.
It was originally produced using a printing method known as silkscreen.
c.
The typeface is a type of sans-serif font.
d.
The woman in the center is an artist replica of the founder of the company.
Arts
2 answers:
natta225 [31]2 years ago
6 0

Answer:All i know is its not d because the lady is siren sorry hope this helped

Explanation:

Valentin [98]2 years ago
3 0

Answer:

The answer is B. It was originally produced using a printing method known as silkscreen.

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A video that I think of is one of the instruction videos that it gives me to watch. It helped me to learn some things about the arts of movie-making. The person that made the video was trying to help me understand some of the basic things that movie makers put into their films that make them look realistic. It was most likely recorded on a camcorder, or a portable device for recording audio and video, like a phone or small camera. I think that because the camera quality is not the best, like in movies, but it is good enough for me to watch and understand what he is saying. This video was for educational purposes. He explained everything thoroughly, in order for me to learn and understand the message he was trying to get across. He used pictures also, to help me more. It was a very instructional video.  

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This is my own answer, so please change it up a bit. I got 100% on edge!!

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Relief printing is done by outlining an image on a surface, and then carving along the outline. The artist then applies the raised areas with ink, to be pressed on to a surface. Intaglio is sort of the opposite of relief printing, in that the ink is pushed into the lines and pits and wiped off the surface of the plate. The resulting image comes from the ink in the engraved or etched lines. The resulting image is reversed.

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What is Battleship Potemkin?
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The Russian navy in the year of the abortive revolution of 1905 still preserved the harsh conditions and brutal punishments of an earlier age. The Potemkin was a new battleship of the Black Sea fleet, commissioned in 1903, with a crew of 800. It was not a happy ship and some of the crew harboured revolutionary sympathies, in particular a forceful young non-commissioned officer named Matyushenko, who took a leading part in what followed. At sea on June 14th (June 27th, Old Style), the cooks complained that the meat for the men’s borscht was riddled with maggots. The ship’s doctor took a look and decided that the maggots were only flies’ eggs and the meat was perfectly fit to eat. Later a deputation went and complained to the captain and his executive officer, Commander Giliarovsky, about worms in their soup. Their spokesman was a seaman named Valenchuk, who expressed himself in such plain language that  Giliarovsky flew into a violent rage, pulled out a gun and shot him dead on the spot. The others seized Giliarovsky and threw him overboard. As he floundered in the water he was shot and killed.

Others of the crew joined in. The captain, the doctor and several other officers were killed and the rest of the officers were shut away in one of the cabins. The Potemkin hoisted the red flag and a ‘people’s committee’ was chosen to take charge. The chairman was Matyushenko.

The ship made for the port of Odessa, where disturbances and strikes had already been going on for two weeks, with clashes between demonstrators, Cossacks and police. The trains and trams had stopped running and most of the shops had closed. People began to gather at the waterfront after the Potemkin arrived in the harbour at 6 am on the 15th. Valenchuk’s body was brought ashore by an honour guard and placed on a bier close to a flight of steps which twenty years afterwards would play an immortal and immensely magnified role in the famous ‘Odessa steps’ sequence of Sergei Eisenstein’s film. A paper pinned on the corpse’s chest said, ‘This is the body of Valenchuk, killed by the commander for having told the truth. Retribution has been meted out to the commander.’  

Citizens brought food for the seamen and flowers for the bier. As the day wore on and word spread, the crowd steadily swelled, listening to inflammatory speeches, joining in revolutionary songs and some of them sinking considerable quantities of vodka. People began looting the warehouses and setting fires until much of the harbour area was in flames.

Meanwhile, martial law had been declared and the governor had been instructed by telegram from Tsar Nicholas II to take firm action. Troops were sent to the harbour in the evening, took up commanding positions and at about midnight opened fire on the packed crowd, which had no escape route. Some people were shot and some jumped or fell into the water and drowned. The sailors on the <span>Potemkin </span>did nothing. The casualties were put at 2,000 dead and 3,000 seriously wounded.

Calm was quickly restored and Valenchuk was allowed a decent burial by the authorities, but the sailors’ demand for an amnesty was turned down and on June 18th the <span>Potemkin </span>set out to sea. The crew were hoping to provoke mutinies in other ships of the Black Sea fleet, but there were only a few minor disturbances, easily put down. The mutineers sailed west to the Romanian port of Constanza for badly needed fresh water and coal, but the Romanians demanded that they surrender the ship. They refused and sailed back eastwards to Feodosia in the Crimea, where a party landed to seize supplies, but was driven off. The <span>Potemkin </span>sailed disconsolately back to Constanza again, and on June 25th surrendered to the Romanian authorities, who handed the ship over to Russian naval officers.

The incident had petered out, though it caused the regime serious alarm about the extent of revolutionary feeling in the armed forces. Its most lasting legacy was Eisenstein’s film, The Battleship Potemkin, (1925) and a riveting essay in propaganda rather than history.

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