The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific written and visual details about their work, including areas they are proud of and could improve. It suggests adding additional slides as needed and deleting any blank slides before submission. The reader is prompted to reflect on whether their final product reflects their original intentions by comparing it to their storyboards and planning.
The document provides guidance for evaluating a graphic narrative project, including comparing the final product to original plans, examining how well images and text were constructed, and assessing whether the intended audience was suitable. Specific examples are given of how the project followed or diverged from initial plans, techniques used like shapes and tools, and how effectively the narrative and visuals were conveyed for young children.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about their work using both written and visual examples. They should find areas of their work to praise, being specific about what is good or what they are proud of. They should also find areas for improvement and specify what they would change if given the opportunity. The template suggests adding additional slides as needed and deleting any blank slides before submission.
The document is an evaluation by Taynie Gage of their graphic narrative children's book based on Alice in Wonderland. Taynie feels their final product closely reflects their original plans and intentions. They carefully storyboarded and planned each page, making minor adjustments during production for layout and design improvements. Taynie constructed characters and imagery using techniques learned in class, such as adding textures. They believe the text fits well with the planned images on each page to advance the story, though a few pages could be improved. Overall, Taynie feels the book is suitable for its intended 6-9 year old audience and that they effectively employed learned techniques in its creation.
The document provides a template for evaluating a graphic narrative project. It includes prompts to praise strengths and identify areas for improvement, with a focus on visual and textual elements. The evaluation should reference specific examples from the project to explain choices in images, style, and how well the final product meets the original intentions.
The document provides a template for evaluating a graphic narrative project. It prompts the user to summarize their project, praise strengths and identify areas for improvement. It suggests including both written explanations and visual examples. It also prompts reflection on how well the intentions, images, text, techniques, audience suitability, representations, style, planning and historical/cultural context were executed in the project.
The document provides guidance for evaluating a graphic narrative project. It prompts the user to provide specific details about their work, including written and visual examples. It suggests praising strong areas of the work and identifying areas for improvement. The user is then asked a series of questions to reflect on their original intentions, how well they constructed images, used text, and whether their final product is suitable for their intended audience.
Jordan Bohill evaluates their Veganuary booklet design project. For the front cover, Jordan aimed to catch people's eye with bright colors and soft illustrations. Feedback was positive about the front cover. The multipage article had an informal, chatty style but design elements were confusing and could be improved. The infographic design did not follow conventions well and would benefit from a simpler, more organized design. The welcome pack pages had strong design elements but could be improved by changing fonts and filling empty spaces better. Overall, Jordan gained skills in design, layout, and receiving feedback to incorporate on future projects.
The document provides guidance for evaluating a graphic narrative project. It prompts the reader to:
- Provide specific details about their work through written and visual examples.
- Find areas to praise, specifying why parts are good or what they are proud of.
- Identify areas for improvement and what could be better if revisited.
- Reflect on if the final product achieved the original intentions shown in planning materials like mind maps, mood boards, and storyboards.
The document provides guidance for evaluating a graphic narrative project, including comparing the final product to original plans, examining how well images and text were constructed, and assessing whether the intended audience was suitable. Specific examples are given of how the project followed or diverged from initial plans, techniques used like shapes and tools, and how effectively the narrative and visuals were conveyed for young children.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about their work using both written and visual examples. They should find areas of their work to praise, being specific about what is good or what they are proud of. They should also find areas for improvement and specify what they would change if given the opportunity. The template suggests adding additional slides as needed and deleting any blank slides before submission.
The document is an evaluation by Taynie Gage of their graphic narrative children's book based on Alice in Wonderland. Taynie feels their final product closely reflects their original plans and intentions. They carefully storyboarded and planned each page, making minor adjustments during production for layout and design improvements. Taynie constructed characters and imagery using techniques learned in class, such as adding textures. They believe the text fits well with the planned images on each page to advance the story, though a few pages could be improved. Overall, Taynie feels the book is suitable for its intended 6-9 year old audience and that they effectively employed learned techniques in its creation.
The document provides a template for evaluating a graphic narrative project. It includes prompts to praise strengths and identify areas for improvement, with a focus on visual and textual elements. The evaluation should reference specific examples from the project to explain choices in images, style, and how well the final product meets the original intentions.
The document provides a template for evaluating a graphic narrative project. It prompts the user to summarize their project, praise strengths and identify areas for improvement. It suggests including both written explanations and visual examples. It also prompts reflection on how well the intentions, images, text, techniques, audience suitability, representations, style, planning and historical/cultural context were executed in the project.
The document provides guidance for evaluating a graphic narrative project. It prompts the user to provide specific details about their work, including written and visual examples. It suggests praising strong areas of the work and identifying areas for improvement. The user is then asked a series of questions to reflect on their original intentions, how well they constructed images, used text, and whether their final product is suitable for their intended audience.
Jordan Bohill evaluates their Veganuary booklet design project. For the front cover, Jordan aimed to catch people's eye with bright colors and soft illustrations. Feedback was positive about the front cover. The multipage article had an informal, chatty style but design elements were confusing and could be improved. The infographic design did not follow conventions well and would benefit from a simpler, more organized design. The welcome pack pages had strong design elements but could be improved by changing fonts and filling empty spaces better. Overall, Jordan gained skills in design, layout, and receiving feedback to incorporate on future projects.
The document provides guidance for evaluating a graphic narrative project. It prompts the reader to:
- Provide specific details about their work through written and visual examples.
- Find areas to praise, specifying why parts are good or what they are proud of.
- Identify areas for improvement and what could be better if revisited.
- Reflect on if the final product achieved the original intentions shown in planning materials like mind maps, mood boards, and storyboards.
The document provides a template for evaluating a graphic narrative project. It prompts the creator to summarize their work, including specific details about what went well and could be improved. It also asks the creator to reflect on how well their final product achieved their original intentions, how professionally their images were constructed, how text anchors the images, and whether the work is suitable for its intended audience.
The document provides a template for evaluating a graphic narrative project. It prompts the creator to praise strong elements of their work and identify areas for improvement. It suggests including both written explanations and visual examples. The creator is also prompted to reflect on how well their final product achieved their original intentions and whether the content is suitable for the intended audience.
The document provides an evaluation of the creator's graphic narrative project. It discusses the planning and execution of the images, use of text, suitability for the target audience, techniques used, and strengths and weaknesses. The creator made some changes from the original plans, such as changing character positions on pages. Images were constructed consistently with character resizing. Text was well-anchored except for one page. Images and simple language make the book suitable for ages 4-8. Shape and brush tools were useful techniques. Earlier planning helped execution.
7. digital graphics evaluation pro forma (1)Sian England
The document provides a template to help evaluate a project by summarizing strengths and areas for improvement. It suggests praising specific strengths and finding specific areas that could be improved if redoing the project. It also asks whether the final product reflects original intentions, how well images were constructed, how text was used to anchor images, if the product is suitable for its intended audience, and what techniques were liked and disliked.
The document provides a template for evaluating a graphic narrative project. It prompts the user to provide specific details and examples from their work to explain strengths and areas for improvement. The user should praise strong elements of their project and identify what they would improve if given another chance. Additional slides can be added as needed and any blank slides should be deleted before submission.
The document provides guidance for evaluating a graphic narrative project. It prompts the user to:
- Provide specific details about their work using written and visual examples.
- Find areas to praise, being specific about what is good or why they are proud.
- Find areas that could be improved and what they would change if doing it again.
- Compare their final product to original plans and intentions.
- Discuss how well images were constructed in terms of appearance, texture and color.
- Evaluate how text was used to anchor images.
- Consider if the product is suitable for the intended audience.
The document provides a template for evaluating a graphic narrative project. It prompts the student to summarize their original intentions, analyze how well they constructed images and used text, evaluate whether their final product is suitable for the intended audience, reflect on techniques used, and identify representations in the work. The student responds to each prompt, praising aspects of their work while also noting areas for improvement, such as making characters more detailed and the overall production more accurate.
The document provides guidance for evaluating a graphic narrative project. It prompts the user to compare their original plans to the final product, discuss how well images and text were constructed, and whether the intended audience and content were suitable. The user is then asked to reflect on specific techniques used, what they liked and disliked, and why certain creative choices were made regarding colors, fonts, effects and included content.
The document provides guidance for evaluating a graphic narrative project. It prompts the creator to praise strong elements of their work and identify areas for improvement. It suggests including both written and visual examples to explain the project. The creator should evaluate whether their final product achieved their original intentions and reflected their planning documents. They should also consider how well they constructed images, used text, and ensured their product was suitable for their intended audience.
Digital graphics evaluation pro forma.pptxSam Hughes
Peer feedback praised the unique visual style and simple yet engaging narrative of the graphic narrative. However, some feedback noted that some pages could benefit from additional details and characters to further immerse the reader. While the author agreed that some pages could be improved with more content, they were proud of developing a distinctive visual style for their target audience.
Digital graphics evaluation pro forma (not done)toby96
The document provides a template for evaluating a graphic narrative project. It instructs the user to provide specific details about strengths and weaknesses in their work through written descriptions and visual examples. The user should identify areas of their project that are good or they are proud of, and also find areas that could be improved if they revisited the project. Additional slides can be added as needed, and any blank slides should be deleted before submission.
The document provides the original script for Lewis Carroll's Alice's Adventures in Wonderland, telling the story of Alice following a white rabbit down a rabbit hole where she encounters magical creatures and strange events, including shrinking after drinking a potion, attending a mad tea party, and being put on trial by the Queen of Hearts for stealing tarts before waking up revealed to have been a dream.
The document provides guidance for evaluating a project using a template. It instructs the user to provide specific details about their work, including written and visual examples to explain the project. The user should find areas of their work to praise, being specific about what is good or what they are proud of. They should also find areas for improvement, specifying what could be better if revisited. Additional slides can be added as needed, and any blank slides should be deleted before submission.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details and examples praising strong aspects of their work and identifying areas for improvement. It also includes questions to prompt self-reflection on how well the final product achieved the original intentions, the construction of images, use of text, and suitability for the intended audience.
The document provides a template to help evaluate a graphic narrative project, suggesting including both written and visual examples to explain the project, areas to praise and improve, and ensuring any blank slides are deleted before submission. It prompts reflection on how well the final product reflects original intentions, image construction, use of text, suitability for audience, and techniques used.
The document provides guidance for evaluating a graphic narrative project. It includes templates to evaluate how well the final product reflects the original intentions, how images and characters were constructed, how text is used to support the images, and whether the product is suitable for the intended audience. The response discusses both strengths and weaknesses in the techniques used, including how characters were designed and how text was incorporated. Areas for improvement are also identified.
The document provides a template for evaluating a graphic narrative project. It prompts the user to provide written and visual examples to explain the project, praise strong areas, and identify areas for improvement. It asks the user to reflect on whether their final product achieved their original intentions by comparing to planning materials. It also has questions about techniques used, suitability for audience, visual style, and representations in the work.
Digital graphics evaluation pro lewis hill final updatedLewis Hill
Lewis William Hill provides a template to help evaluate graphic narrative projects. The template includes prompts to provide written and visual examples of the project, praise strong areas, and identify areas for improvement. It suggests adding additional slides as needed and deleting any blank slides before submission. The document offers guidance on reflecting original intentions, constructing images, using text to anchor images, suitability for the intended audience, and likes/dislikes of techniques and the final product.
Digital graphics evaluation pro lewis hill finalLewis Hill
The document provides guidance for evaluating a graphic narrative project. It includes prompts to evaluate how well the final product reflects the original intentions, how images are constructed, how text is used to anchor images, whether the product is suitable for the intended audience, techniques used, representations in the work, symbols and codes, and the overall style employed. The creator provides detailed responses analyzing their graphic narrative based on the prompts. They discuss their creative process, design choices, strengths and weaknesses of the final product.
Erica Pilibosian is seeking an accounting position where she can utilize her skills and experience. She has a Bachelor's degree in Accounting from Rhode Island College where she maintained a 3.62 GPA. She currently works as an Accounts Payable Coordinator for CVS Health and has previous experience preparing tax returns and reconciling assets. She is proficient in Microsoft Office programs and accounting software, and is a certified IRS tax preparer.
Publicis Health American Heart Association Fundraising Results Alicia Case
Publicis Health Runs NYC by fundraising the most ever for the the American Heart Association's Wall St. Run & Heart Walk. Not only did they break records, but its employees walked away with more affinity and engagement to their organization than ever before.
52 termo de-julgamento_classificacao_de_proposta_e_declaracao_de_licitacao_fr...Emilio Viegas
I. A Comissão Permanente de Licitações desclassificou a proposta da empresa CEC-CARMELLO PROJETOS EIRELI-EPP por apresentar incongruências com relação à desoneração da folha de pagamento e não atender outros requisitos da Carta-Convite.
II. A licitação foi declarada fracassada por não haver proposta em condições de aceitabilidade.
III. Foi fixado prazo de dois dias úteis para interposição de eventuais recursos.
The document provides a template for evaluating a graphic narrative project. It prompts the creator to summarize their work, including specific details about what went well and could be improved. It also asks the creator to reflect on how well their final product achieved their original intentions, how professionally their images were constructed, how text anchors the images, and whether the work is suitable for its intended audience.
The document provides a template for evaluating a graphic narrative project. It prompts the creator to praise strong elements of their work and identify areas for improvement. It suggests including both written explanations and visual examples. The creator is also prompted to reflect on how well their final product achieved their original intentions and whether the content is suitable for the intended audience.
The document provides an evaluation of the creator's graphic narrative project. It discusses the planning and execution of the images, use of text, suitability for the target audience, techniques used, and strengths and weaknesses. The creator made some changes from the original plans, such as changing character positions on pages. Images were constructed consistently with character resizing. Text was well-anchored except for one page. Images and simple language make the book suitable for ages 4-8. Shape and brush tools were useful techniques. Earlier planning helped execution.
7. digital graphics evaluation pro forma (1)Sian England
The document provides a template to help evaluate a project by summarizing strengths and areas for improvement. It suggests praising specific strengths and finding specific areas that could be improved if redoing the project. It also asks whether the final product reflects original intentions, how well images were constructed, how text was used to anchor images, if the product is suitable for its intended audience, and what techniques were liked and disliked.
The document provides a template for evaluating a graphic narrative project. It prompts the user to provide specific details and examples from their work to explain strengths and areas for improvement. The user should praise strong elements of their project and identify what they would improve if given another chance. Additional slides can be added as needed and any blank slides should be deleted before submission.
The document provides guidance for evaluating a graphic narrative project. It prompts the user to:
- Provide specific details about their work using written and visual examples.
- Find areas to praise, being specific about what is good or why they are proud.
- Find areas that could be improved and what they would change if doing it again.
- Compare their final product to original plans and intentions.
- Discuss how well images were constructed in terms of appearance, texture and color.
- Evaluate how text was used to anchor images.
- Consider if the product is suitable for the intended audience.
The document provides a template for evaluating a graphic narrative project. It prompts the student to summarize their original intentions, analyze how well they constructed images and used text, evaluate whether their final product is suitable for the intended audience, reflect on techniques used, and identify representations in the work. The student responds to each prompt, praising aspects of their work while also noting areas for improvement, such as making characters more detailed and the overall production more accurate.
The document provides guidance for evaluating a graphic narrative project. It prompts the user to compare their original plans to the final product, discuss how well images and text were constructed, and whether the intended audience and content were suitable. The user is then asked to reflect on specific techniques used, what they liked and disliked, and why certain creative choices were made regarding colors, fonts, effects and included content.
The document provides guidance for evaluating a graphic narrative project. It prompts the creator to praise strong elements of their work and identify areas for improvement. It suggests including both written and visual examples to explain the project. The creator should evaluate whether their final product achieved their original intentions and reflected their planning documents. They should also consider how well they constructed images, used text, and ensured their product was suitable for their intended audience.
Digital graphics evaluation pro forma.pptxSam Hughes
Peer feedback praised the unique visual style and simple yet engaging narrative of the graphic narrative. However, some feedback noted that some pages could benefit from additional details and characters to further immerse the reader. While the author agreed that some pages could be improved with more content, they were proud of developing a distinctive visual style for their target audience.
Digital graphics evaluation pro forma (not done)toby96
The document provides a template for evaluating a graphic narrative project. It instructs the user to provide specific details about strengths and weaknesses in their work through written descriptions and visual examples. The user should identify areas of their project that are good or they are proud of, and also find areas that could be improved if they revisited the project. Additional slides can be added as needed, and any blank slides should be deleted before submission.
The document provides the original script for Lewis Carroll's Alice's Adventures in Wonderland, telling the story of Alice following a white rabbit down a rabbit hole where she encounters magical creatures and strange events, including shrinking after drinking a potion, attending a mad tea party, and being put on trial by the Queen of Hearts for stealing tarts before waking up revealed to have been a dream.
The document provides guidance for evaluating a project using a template. It instructs the user to provide specific details about their work, including written and visual examples to explain the project. The user should find areas of their work to praise, being specific about what is good or what they are proud of. They should also find areas for improvement, specifying what could be better if revisited. Additional slides can be added as needed, and any blank slides should be deleted before submission.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details and examples praising strong aspects of their work and identifying areas for improvement. It also includes questions to prompt self-reflection on how well the final product achieved the original intentions, the construction of images, use of text, and suitability for the intended audience.
The document provides a template to help evaluate a graphic narrative project, suggesting including both written and visual examples to explain the project, areas to praise and improve, and ensuring any blank slides are deleted before submission. It prompts reflection on how well the final product reflects original intentions, image construction, use of text, suitability for audience, and techniques used.
The document provides guidance for evaluating a graphic narrative project. It includes templates to evaluate how well the final product reflects the original intentions, how images and characters were constructed, how text is used to support the images, and whether the product is suitable for the intended audience. The response discusses both strengths and weaknesses in the techniques used, including how characters were designed and how text was incorporated. Areas for improvement are also identified.
The document provides a template for evaluating a graphic narrative project. It prompts the user to provide written and visual examples to explain the project, praise strong areas, and identify areas for improvement. It asks the user to reflect on whether their final product achieved their original intentions by comparing to planning materials. It also has questions about techniques used, suitability for audience, visual style, and representations in the work.
Digital graphics evaluation pro lewis hill final updatedLewis Hill
Lewis William Hill provides a template to help evaluate graphic narrative projects. The template includes prompts to provide written and visual examples of the project, praise strong areas, and identify areas for improvement. It suggests adding additional slides as needed and deleting any blank slides before submission. The document offers guidance on reflecting original intentions, constructing images, using text to anchor images, suitability for the intended audience, and likes/dislikes of techniques and the final product.
Digital graphics evaluation pro lewis hill finalLewis Hill
The document provides guidance for evaluating a graphic narrative project. It includes prompts to evaluate how well the final product reflects the original intentions, how images are constructed, how text is used to anchor images, whether the product is suitable for the intended audience, techniques used, representations in the work, symbols and codes, and the overall style employed. The creator provides detailed responses analyzing their graphic narrative based on the prompts. They discuss their creative process, design choices, strengths and weaknesses of the final product.
Erica Pilibosian is seeking an accounting position where she can utilize her skills and experience. She has a Bachelor's degree in Accounting from Rhode Island College where she maintained a 3.62 GPA. She currently works as an Accounts Payable Coordinator for CVS Health and has previous experience preparing tax returns and reconciling assets. She is proficient in Microsoft Office programs and accounting software, and is a certified IRS tax preparer.
Publicis Health American Heart Association Fundraising Results Alicia Case
Publicis Health Runs NYC by fundraising the most ever for the the American Heart Association's Wall St. Run & Heart Walk. Not only did they break records, but its employees walked away with more affinity and engagement to their organization than ever before.
52 termo de-julgamento_classificacao_de_proposta_e_declaracao_de_licitacao_fr...Emilio Viegas
I. A Comissão Permanente de Licitações desclassificou a proposta da empresa CEC-CARMELLO PROJETOS EIRELI-EPP por apresentar incongruências com relação à desoneração da folha de pagamento e não atender outros requisitos da Carta-Convite.
II. A licitação foi declarada fracassada por não haver proposta em condições de aceitabilidade.
III. Foi fixado prazo de dois dias úteis para interposição de eventuais recursos.
En la escuela especial Nº 2-021 “Teniente Coronel Pompilio Schilardi”, ubicada en una zona urbano-marginal de Las Heras, funciona una nutrida biblioteca que busca contactar a los chicos con los libros.
A empresa de tecnologia anunciou um novo smartphone com câmera aprimorada, maior tela e bateria de longa duração. O dispositivo também possui processador mais rápido e armazenamento expansível. O novo modelo será lançado em outubro por um preço inicial de US$799.
Enterprise Europe Network have the unique Partner Search Database which currently has over 14,000 opportunities available for businesses looking for partners, agents and distributors throughout our network of 48 countries.
The document analyzes how Japan's isolationism and desire to maintain culture during the Tokugawa Shogunate influenced its actions in World War 2 leading up to the attack on Pearl Harbor. It discusses how the Shogunate brought stability but also confined Japan. When Western influence increased after 1853, it overwhelmed Japan and contributed to the Shogunate's collapse in 1867. As Japan modernized after this, the clash between old and new ideas may have strengthened its culture's militaristic aspects and hostility, impacting its World War 2 actions.
Кейс по обучению кадрового резерва ООО «РН-Сахалинморнефтегаз».FGConsulting
Кейс по обучению кадрового резерва ООО «РН-Сахалинморнефтегаз» (дочернее общество ОАО «НК «Роснефть»). Управленческое обучение проводил бизнес-тренер проекта и руководитель компании FG Consulting Макаров Антон. Сотрудники прошли тренинги по таким темам, как: планирование, ведение переговоров, командное лидерство, системное мышление. В комплексный проект входила предтренинговая диагностика, адаптация обучения. Из кейса Вы сможете подробнее узнать о проекте и ознакомиться с отзывами о наших тренингах.
Este documento proporciona dos métodos para descargar películas y series de forma gratuita. El primer método implica crear una cuenta gratuita en Pordede.com para obtener acceso ilimitado a contenido. El segundo método implica descargar e instalar el programa Bittorrent y luego usarlo para descargar archivos desde Elitetorrent. Ambos métodos permiten descargar películas y series de forma fácil y gratuita.
This document provides a template for evaluating a graphic narrative project. It includes prompts to provide specific details about the project, including written and visual examples. It prompts the user to identify strengths in the project and areas that could be improved. The user is also asked to reflect on how well the project met its original intentions, how the images and text were constructed, whether the content is suitable for the intended audience, and the techniques and styles used.
The visual style of your graphic narrative draws inspiration from classic children's books like The Hungry Caterpillar and The Birthday Crown. Your use of simple shapes for backgrounds and rotoscoped characters in a minimalist style echoes visual conventions from books aimed at young audiences.
You also incorporated textual elements commonly found in children's literature, such as speech bubbles, to help tell the story visually. Text is integrated with the images in a way that builds on techniques used successfully in books like The Gruffalo.
While your work does not necessarily reflect professional graphic design standards, it demonstrates an understanding
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about strengths and weaknesses of their work using written and visual examples. The reader should identify areas of their project they are proud of and explain why, as well as areas that could be improved and how. Blank slides should be deleted before submission.
The document provides guidance for evaluating a graphic narrative project. It prompts the creator to praise strong elements of their work and identify areas for improvement. It suggests comparing the final product to original plans and storyboards. The creator is also prompted to discuss their construction of images, use of text, suitability for the intended audience, and techniques used. Blank slides should be deleted before submission.
The document is a template for evaluating a graphic narrative project. It prompts the user to provide specific details about their work, including written and visual examples. It instructs the user to praise strong areas of their work and identify areas for improvement. The user is then asked a series of questions about how well their final product reflects their original intentions, how well they constructed images and used text, whether their product is suitable for their intended audience, their likes and dislikes of techniques used, and how they feel about the look of their final product. In response, the user provides a lengthy self-evaluation of their graphic narrative storybook project.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about strengths and weaknesses of their work using written descriptions and visual examples. The reader is told to identify areas they are proud of and explain why, as well as areas that could be improved and how they would make changes. Blank slides should be deleted before submission.
This document contains the responses from Jordan Lee to questions about their graphic narrative project. Jordan indicates that their final product largely reflected their original intentions and planning. They constructed simple but effective images within the time constraints. Text was used well to anchor the images and provide a clear narrative. Jordan feels the project is suitable for its intended 2-5 year old audience. They liked using shape tools but disliked rotoscoping. While characters could have been improved, overall Jordan is pleased with the consistent style and readability of the final product. Signs, symbols and representations were carefully considered to differentiate characters and create meaning.
The document provides a template for evaluating a graphic narrative project. It prompts the user to summarize their original intentions, compare their final product to planning documents, discuss the construction and use of images and text, and evaluate how suitable their product is for the intended audience. The user is asked to provide specific details, examples, praise for strong elements, and suggestions for potential improvements. Blank slides can be deleted before submission.
Digital graphics evaluation pro forma (1)Sian England
The document provides guidance for evaluating a graphic narrative project. It instructs the user to provide specific details about their work, including written and visual examples. It also prompts the user to identify strengths and areas for improvement. The user should compare their original plans to the final product and reflect on how well they constructed images, used text, and ensured their product was suitable for the intended audience. The template suggests adding additional slides as needed and deleting any blank slides before submission.
The document provides a template for evaluating a graphic narrative project. It prompts the user to praise strong elements of their work and identify areas for improvement. It suggests including both written explanations and visual examples. The template recommends adding additional slides as needed and deleting any blank slides before submission. It also asks the user to compare their final product to their original plans and intentions.
The peer feedback praised some areas of the work such as the planning being vague enough to allow for experimentation but specific enough to stay on track. However, it also noted many weaknesses such as the dull colors not being suitable for a children's book, the lack of character variety potentially being problematic, and time management being an issue as the deadline was missed. While some feedback like on the colors was agreed with, other points on character design potentially causing issues were disagreed with as no harmful representations were intended.
The document discusses the student's graphic narrative project evaluating various aspects of their final product such as how well it reflects their original intentions, how they constructed images, used text to anchor images, how suitable it is for the intended audience, and techniques used.
The student feels their final product generally reflects their original intentions as shown through their planning process including mind maps, mood boards, and storyboards. They constructed images using shape tools in Photoshop but note room for improvement. They acknowledge text could have been better anchored to images on some pages. The content is deemed suitable for the 4-6 year old target audience.
The student discusses likes and dislikes of the techniques used, including enjoying the warp tool but finding 2
The document discusses the creator's graphic narrative project, a children's book. They summarize how their final product reflects and differs from their original plans. While some elements like speech bubbles had to change, the overall story and intentions remained the same. They also discuss their techniques, including using photographs as backgrounds and rotoscoping characters. They note what they like, such as the unique style, and what they would improve, such as adding more detail. Overall they are pleased with how their images turned out but have some critiques on individual pages and characters.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about their work, including written and visual examples. It also prompts the reader to identify areas of their work that are good or could be improved, and to be specific in their analysis. The reader is told they can add additional slides as needed and should delete any blank slides before submission.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide both written and visual examples to explain the project, find areas to praise with specific details, and find areas for improvement with specifics on how they could be better. It also asks if the final product reflects the original intentions by comparing plans to the final version.
Digital graphics evaluation powerpoint scott wilson 2ScottWilson977
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about strengths and weaknesses in their work, including both written explanations and visual examples. The reader should identify areas of their project that are good as well as areas that could be improved, and be specific about what they would change. Additional slides can be added as needed, and any blank slides should be deleted before submission.
The peer feedback praised the graphics for using simple yet distinctive character designs and striking colors that would appeal to younger audiences, though some felt the backgrounds could be more realistic. The use of thought bubbles to show additional story elements was highlighted as effective, while some responses noted the text could be improved and backgrounds varied more across pages. Overall the feedback provided constructive suggestions to consider while also acknowledging positive aspects of the graphics.
The document is an evaluation of a graphic narrative created by the author. Some key points:
- The author made some changes from their original plans during production for improved effectiveness.
- They feel the images were constructed fairly well with consistent characters and backgrounds, though character positioning could be more consistent.
- Most pages effectively anchor the images to the text, though some could have stronger links.
- The story is suitable for its 4-8 year old audience with simple language and bright, non-distracting images.
- The author discusses techniques used and likes the shape tool, but dislikes some design aspects on page 9.
The planning for the graphic narrative had some weaknesses. The flat plans did not allow for enough variation between pages and used real images that could not be replicated digitally. More time should have been spent planning character placement and text to avoid repetitive pages. However, research of other books helped with props and style. Overall, better planning is needed for consistency and to avoid rushing production.
My planning and pre-production helped provide direction for my graphic narrative project. However, there were also weaknesses in the planning. The planning helped me establish a main character and setting that carried through to the final product. However, some elements changed from the planning, such as reducing the number of characters and altering the character's outfit. Overall, the planning was useful but also required changes during production.
The document summarizes the client project of creating posters for a brewery. It compares the posters to existing styles and finds they have a blend of realistic and stylized elements. Constraints in not advertising to minors and having no budget are addressed. Feedback was not received from the client. Requirements of giving products a narrative and incorporating flavors were met. Skills in Photoshop and different comic styles were improved. Changes were made to layouts and elements to improve aesthetics and flow.
This document outlines a 3-week project to create comic book or movie poster style mockups for alcohol products. It includes using a minimalist 50s neo-traditional format with fonts and text tailored to each product's narrative. The target audience is ages 18-35 or 18-40, with an unisex and vegan/vegetarian focus. Resources listed are a computer, software, sketchbook, scanner and possibly a graphics tablet. The budget is £0 and the schedule allocates time each week for the duration of the project.
The document discusses different types of client briefs, including contractual, formal, informal, co-operative, negotiated, commission, tender, and competition briefs. It emphasizes the importance of thoroughly reading and discussing the brief with the client prior to production in order to confirm requirements and scope. The brief for this project involves creating three product posters with creative freedom within some aesthetic recommendations. Legal and ethical advertising guidelines must also be considered for the brewery product. The brief presents opportunities for self-development, learning new skills like graphic design, and multi-skilling through completing the project.
This document provides an overview of ideas and research for promotional posters for Brass Castle brewery client project. It includes two initial ideas for the posters incorporating genre narratives related to the beverage names. The first idea of 1950s comic book style posters is selected to develop further. Research covers competition, the target market, and styles of similar breweries. Three poster concepts are then presented applying the selected idea and genre narratives to each beverage. An assessment addresses suitability, appeal, timelines and risks.
I faced no legal issues such as copyright infringement during production of the Brass Castle project posters. I ensured all fonts and graphics were free for commercial use. The posters did not promote the brewery's products to underage individuals. I completed the project without needing a budget as I had all necessary equipment. While I managed my time well and delivered the posters on deadline, communication with the client was limited which constrained feedback opportunities. Overall I feel I met the brief's requirements by developing visual narratives and incorporating product flavors for each unique poster.
The document discusses several Hayao Miyazaki films and their themes, characters, and interpretations. It analyzes the target audiences and age ranges of films like My Neighbor Totoro, Spirited Away, and Howl's Moving Castle. Alternative theories about the films are presented, such as Spirited Away being an allegory for prostitution and Totoro featuring characters who are dead or near death. The document also explores Miyazaki's representations of gender, culture, and villains.
This document provides details on potential poster design ideas for a client called Brass Castle brewery. The client is looking for 3 poster designs that incorporate the name and flavor of 3 different beverages.
The document evaluates 2 initial ideas - the first being 1950s style comic book/movie posters highlighting the name, flavor and genre of each beverage, and the second being minimalist video game posters for each beverage. The first idea is selected to develop further.
Three genres are assigned to each beverage - psychological thriller, sci-fi, and action/adventure. Research is presented on the target audience, competition, and market. A schedule is outlined to develop one poster per week over 3 weeks.
This document discusses various design elements used in page layout including bold, uppercase, titles, grids, orientation, headers, rules, pull quotes, whitespace, balance, datelines, drops caps, borders, and page numbers. It touches on concepts like asymmetrical and symmetrical balance in page design.
This document discusses different methods for sourcing images and their advantages and disadvantages. It addresses sourcing images from books, Google Images, stock image libraries, copyright free sites, an individual's own photos, and processing images through cropping, resizing, and adjusting resolution and DPI. Key advantages of sourcing from books include getting historical illustrations, while disadvantages include potential restrictions in content and quality issues from scanning. Google Images provides a vast selection but risks non-original or copyrighted images. Stock images guarantee quality and copyright but require payment. Using one's own photos ensures no copyright but may lack required content or skills. Processing allows customizing images but high resolution carries file size disadvantages for web use.
This document provides an evaluation of Nicole Tunningley's work for the Veganuary project. It includes summaries of feedback received on different pieces, comparisons to existing professional works, and reflections on planning, preparation, creative choices, and technical skills. The infographic was well-received but could provide more details on alternatives. Preparation through research and mind-mapping proved useful. Formats and themes were generally consistent, though the factfile was an exception. Technical skills are demonstrated throughout with layout, formatting, and creative elements like icons. Lessons learned include focusing design elements and improving dull text sections with images.
This document contains summaries of several web pages on the topics of veganism, animal welfare, and cruelty-free cosmetics. It discusses how celebrity vegans and YouTube influencers promote vegan cosmetics brands. It also presents quotes from articles on the environmental and ethical benefits of a vegan diet and lifestyle. Primary research conducted by the author found that many people are open to trying veganism and unaware of animal ingredients in cosmetics.
The Nerf Stampede ECS instruction manual provides clear step-by-step instructions on how to use the product through diagrams and illustrations. However, the caution text could be more prominent. Overall the manual is easy to understand but the battery information could be more eye-catching.
The Viva! Lambing lies leaflet aims to convince readers to adopt a vegetarian lifestyle but lacks balance by only presenting one side of the argument. It uses emotional language and cites sources to support its biased opinion against meat consumption.
Newspaper articles promote political views through implicit language and references. They are inherently biased based on the owner's views but must follow codes of practice around libel, consent, and individuals'
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This document discusses the creator's first produced version of their magazine and areas for improvement. While they like the color scheme and font choice, they note the text seems compressed and could be improved by adding more details in smaller fonts, such as writing the page number in a smaller font under subtitles to help readers know the location in the magazine.
The document evaluates Nicole Tunningley's social action products aimed at raising awareness of transphobia. It summarizes the intended purpose, message communication, and appropriateness for the target audience of posters, logos, bookmarks, leaflets, and merchandise. It also compares the products to professional examples and analyzes survey feedback on aesthetic preferences, statistical impact, and how the work made people feel. The feedback indicates the leaflet was the most informative product while the merchandise was less effective at communicating the message.
This document summarizes several social action campaigns and organizations:
- A "We are a culture not a costume" poster campaign by STARS that raises awareness of cultural appropriation and stereotyping.
- Caine's Arcade, a viral video about a boy's cardboard arcade that led to a foundation supporting children's creativity.
- Carousel, a Brighton-based organization that provides media training for learning-disabled artists.
- The JCWI campaign posters that aim to shift perceptions of immigration by highlighting immigrants' humanity rather than stereotypes.
The document discusses the development of a logo design for a campaign. The first draft of the logo included the trans pride symbol in the center of the world to symbolize global change. Paper chains were also included to represent unity. Feedback noted that the world design drew too much attention away, so the opacity was lowered. Another draft placed the world inside the trans symbol and kept the bright background color. Later, designs for campaign products like bookmarks, leaflets, posters, and hats were discussed, with layouts and iterations shown. The goal was to create cohesive branding across different mediums.
Nicole Tunningley has created a 5-week schedule to plan her campaign. In week 1, she will design posters and consider different formats. In week 2, she will finish posters and start designing a leaflet. In week 3, she will research merchandise designs and create designs. In week 4, she will make additional work and have contingency time. Her resources include design software, a camera, tripod, and templates.
This document discusses considerations for researching a social action issue. It notes that the research must be sensitive since the topic deals with personal issues that some people try to hide. Primary research through questionnaires may be best to avoid making people uncomfortable. There could be issues getting access to people affected by the social issue if they fear admitting they are impacted. The research would need to be fact-checked to ensure accurate information and avoid worsening perceptions of the problem. Any work produced would need to represent the issue and affected groups respectfully without causing offense.
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
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2. Use this template to help you evaluate your project.
You should give specific details about your work.
You should provide both written and visual examples to explain your project.
You should find areas to praise in your work. Be specific about why you think they are
good or why you are proud of them.
You should also find areas that could be improved. Look for areas that you could make
better if you went back to them. Be specific about what you would improve.
Add additional slides as you need to. Don’t be restricted by what is here.
Any blank slides should be deleted before submission.
3. Does your final product reflect your
original intentions?• Storyboards/flat plans:
• There are quite a few differences when comparing my finished work to my storyboards, as
the storyboards were essentially just sketches they lack the detail I added to my pages in
production. For example, page 4 is a lot more minimalist in comparison to my finished
version and also in pages 6, 7, 8 and 9 I have 5 compartments in the shoe shelf whereas
originally and in my final production they only have 4.
• The most drastic differences with my storyboards in comparison to my finished pages are just
literally where I put my text on the image or how much detail I added such as the lamp and
the wallpaper rip in page 4. I also find that the scale of the details in the images can differ, for
example the table on the storyboard version of page 4 has only a few main focuses with the
table in the background whereas the finished version has more
• So, I would say that my storyboard does reflect how I wanted that pages illustration to look
as there were not drastic changes between that and the final product
Storyboard plan of page 4
Finished Page 4 Storyboard plan of page 6 Finished Page 6
4. Does your final product reflect your
original intentions?
• Planning:
• With the planning of my production, I retrieved reference images through the internet to
look at other art for the story of ‘The Elves and the Shoemaker’. The search came up with
images from books that have a clear variety of techniques like drawn, digital art and some
even look painted. I think that my elf characters resembles in some sense the one I have
exampled below because they both appear childlike and petite in appearance. I have kept
with the original intention of having two elves like in my story being a boy and girl with
colourful hair, so that it is gender neutral and quite magical. I also think that the elves stand
out because my colour scheme is quite natural and earthy so giving the elves some colourful
features may make the reader like them more.
• However I think that my elves are more original because the on the example image the elves
have larger heads and more Chibi-like bodies (Japanese style)
5. How well have you constructed your
images?
• With the clothing as before I stated that I preferred to make them with the polygonal lasso,
this I because on page one I didn’t. The vest is formed with a rectangular shape as the main
section and then some smaller rectangular shapes warped to appear as the short shoulder
sleeves, it appears soft and cloth-like. On the other hand on page 6 he has changed the
clothes he wears and the waistcoat he wears is supposed to be a more detailed, wealthier
version of the vest seen previously this is done with the polygonal lasso tool and I like how it
looks more. Yet on the right side of the waistcoat it appears jagged and too sharp so, in
comparison I believe that I could have constructed that image better if I had softened it up
slightly but not so he appears blobby. I do prefer using the polygonal lasso tool for on
clothing but on this one occasion I believe I could have constructed it better.
• Considering that I haven’t really used that many images from the internet and that I made
most of them with the techniques I mentioned I do believe I constructed them well because I
only really had my storyboard as a reference.
6. How well have you constructed your
images?
• I believe my images are well constructed in the sense that they look the way I intended
them too
• The rotoscoped image is sharp and looks like the subject I rotoscoped (Lee Pace).
• The shape task on the other hand is supposed to be the opposite, there are a lot of
circles that I have warped and softened to form the body of the sloth. I think putting a
gradient on the body of the sloth was a good idea because it shows the shading on the
body and looks less blocky
• I think one of the best constructed
pieces on the shape task is the detail on
the tree and the sloth’s facial features
but the background could be better
constructed and less blobby.
• I think the best constructed part of the
rotoscoped piece is the shading because
it appears where it does on the original
image but the background is dull and
because it is a studio image the lacking
in light surrounds the subject and it isn’t
just on his face.
7. How well have you used text to anchor
your images
• I believe that with the story that I had and the images I produced that it is well balanced but
there is one particular occasion where it is an example. On page five the story talks about the
shoemaker cutting out the leather, going to bed and waking up to see the shoes but the
actually illustration just shows him waking up seeing the shoes. I did this because on page
one you see the leather the shoemaker has just cut and then in page two you see them
sleeping, I didn’t want to repeat these pages and I only wanted eleven pages of illustration so
I couldn’t do all three. This image seems like the best to refer to for this particular part of the
story as it shows the gradual development of the character and the surroundings before the
scene is edited to suit the characters situation (newfound wealth).
Page 1 Page 2 Page 5
8. How well have you used text to anchor
your images
• The pen tool on Photoshop came in handy when I had a lot of detail in a certain image or
only one space which I didn’t want to use because I had done before. So, I would in some
form using the pen and text tool shape a text box around certain features of the image. For
example, in the image below there is plenty of space to place the text but the text is
presented on the table and it is slanted to the left this is because the text is present in the
section of the table where the light from the window highlights it and I didn’t want to put it
in an obvious average place. This has presented me with a good place to present my text, I
liked using this tool as it attached the text to the image and almost made it seem like the text
was present in the scene.
• I made sure that my text was easy to read due to the age of my audience, so I made the font
easy to read. Also due to the fact that my text moves to fit on different areas of the page it
means that it is going to be on different objects of various different colours. To make sure
that the text is readable on all the areas of the page I made the font white with a black
outline so the colour of the subject it is on wouldn’t matter.
9. Is your product suitable for your
audience?
• In my proposal I stated that I wanted my book to be 10-12 8x8 inch pages with 4 to 8 lines of
the story on and with my completed book I have 11 pages for the story not including the
front page (all 8x8 inch) with a maximum of 7 lines of the story. I think this is a good amount
of text form my target audience to either learn to read from or be read to by someone else.
• I aimed my book at unisex English speaking 1-4 year olds living in areas such as Australia, UK,
America and Canada with the all-class nursery type of demographic. I think this is a good
demographic to have because most parents will buy some form of story book for their
children as amusement, even now that stories have gone digital parents are still purchasing
books to read to their children or have them learn.
• My story is suitable in a sense that it isn’t violent, it doesn’t have dark themes or bad
language and my images aren’t graphic in any fashion. But considering it was a folktale with a
lot of old English I did have to edit the story so that it was simple and short enough from my
target audience to read.
10. What do you like/dislike about the
techniques you have used?
• I have used two techniques in my production on Photoshop, those are rotoscoping and shaping. I
have on one occasion with the scissors on page 1 got an image from the internet and rotoscoped
around them because I knew that earlier in production that I would not be able to produce some
scissors from scratch that would look as good as it does rotoscoped. I felt it was okay to do this as
scissors are such a common household object and they do look quite similar to each other and are
formed of basic shapes, I did this because I didn’t want them to be too detailed and draw too much
attention in the scene. That is the only time I have taken an image from the internet to use, the rest
of my images are completely original. I used shaping for features like the face and hands as they are
quite circular and I used the polygonal lasso for the hair or the clothes as they appear sharper.
• I preferred to use the polygonal lasso tool as I could construct a shape I wanted and it would be
sharp and clean cut. The shapes on the other hand sometimes when warping appear too blobby or
unnatural on the scene but the lasso tool can make the images seem jagged and rough. I prefer to
use the lasso tool to conjure up my own shapes but I wanted to have a good balance of sharp and
soft in my images, an example of this is with the shoes. For them I would use a two rounded
rectangles and then warp the shapes and merge them to take the shape of a boot. I would then add
details with the polygonal lasso such as the shoe sole, the light reflecting of it and any shading. The
laces would be a line shape put in a zig zag order as if they were in the boot, also in some cases the
boot have a fur top which would be a lasso formed shape. If the object I was making in the scene
was not a boot I wouldn’t have added as much detail
11. What do you like/dislike about the
techniques you have used?
I used the polygonal lasso tool to make sharp, pointed shapes such as the hair or the clothes. This was a good tool to use because
I could make my own shapes rather than having to warp existing ones but I did find that sometimes it could take to long to form
the shape I was looking for.
I used the paintbrush tool to fill in any sections that exposed the background, this was a good last resort if certain shapes didn’t
fit where I needed them to. One thing I didn’t like about this tool was how bumpy it would appear in comparison to the
smoothness or sharpness of the other shapes within the illustration.
I used the eyedropper tool to sample colors from other pages that I needed to include in others, this came in handy when I
moved onto another page but needed the same palette for my colour scheme.
I used the shape tool to construct the faces and bodies of my characters among many others subjects, if I didn’t have this tool I
would have typically only used the polygonal lasso tool and this would have made the illustrations seem too pointed and not
quite cartoony enough for what I was going for.
I used the pen tool to construct a text box around the certain details of my illustration and then the text tool to add in the certain
part of the story that will be suitable for that scene.
I liked the pen tool as it gave me some form of freedom with my text as I didn’t have to create a whole new page for it and it can
seem more involved with the story.
I used the perspective option with my shapes quite frequently for page 2, this is because that page view for the audience is at an
angle that the windows and table features had to be tweaked to fit in. I liked this tool as it helped me with that scene though it
did take me quite a while to get used to.
I used the warp tool to tweak the shapes so that they take the form of something I needed them to in the scene, for example the
curtain on page 6 had to be warped so it looked like it was draped across it in a droopy way. This tool was handy and I used it
frequently in most if not all of my illustrations because it allowed me to edit the shapes to appear the way I wanted without
having to create one with the lasso tool as that would take to long.
12. What do you like/dislike about how
your final product looks?
• I like that my final product has just the right amount of illustrations to tell the story and also
that considering the fact that I used similar looking scenes in my illustrations that I can make
them appear like different places with the angles I presented them in or the details I added.
• As I attempted to change the viewpoint illustration of the scene on page two I came to dislike
it’s appearance. This is purely because I spent too much time trying to make it look right at
that angle with the perspective tool that I came to the realisation that if I did it from a
different more simple angle I could have put more detail onto the scene. I felt overall that I
wasted time trying to make this scene seem correct when I could have done it from an
average angle like the rest of my illustrations and just made it look better with the more time
I had.
13. In these particular parts of the story I have technically used the same room for this scene because I
didn’t want to create a new room for every illustration just to change the audience’s perspective. So
what I have done here is in the scene on the left I have used the table that the shoemaker stands
behind but at a different angle to show the scene on the right of the shoemaker selling a pair of shoes
it is just technically an exchange at a different view for the audience.
It gives the audience a change of perspective and a closer look as to how the shoemaker lived in his
poverty without having to use the same boring scene. I also liked that because people are seeing this
from a different angle so that I could add details they otherwise wouldn’t see such as the lamp and the
wallpaper rip.
In my book I also attempted a little game in some sense, this is that every scene has the spider in and
on each illustration they have to spot him. I thought this would be a nice little challenge for the reader
to do at the end of every page and it could also spark their interest and make them more observant as
to what is in the scene.
What do you like/dislike about how
your final product looks?
14. Why did you include the content you
used?
• I included the images I did to make audience feel as if they were involved with the story rather than just observing it, this can be seen in page 9
where the shoemaker and his wife have made the elves some clothes and shoes. I made this image as if they were presenting what they had made to
the audience so that they felt more included in the story, I also included them looking in the direction of the reader so they felt as if they played a
part in the story.
• I chose the font that I did as it thought it was easier to read in comparison to some more complex curly or even historically accurate fonts for the
time in which more story is based. But this is a children’s book and for it to be a children’s book it would have to be readable to them so I used times
new roman this is quite and easy font to read and it doesn’t have a particular curly or flicked style this is what I intended for with my font because if it
was to fancy or even italic my target audience would struggle to read it. If this book was for older children I could maybe experiment more with the
font, I could possibly go for something like ‘Lucida handwriting’ or ‘Curlz MT’ but for my book this would be too complicated for my demographic to
read unless being read to.
• I made my font white on my illustrations with a black outline so it would be readable on any colour of the background I placed it upon, this was
proved to be quite helpful as I did move my fonts around the illustrations a lot to fit around the detail I included within.
Examples of how my text appeared on
many different surfaces.
15. Why did you include the content you
used?
• I felt as if I had a particular colour scheme with my illustrations which I wanted to do as it gave the story it’s own artistic
flare. For example, at the beginning of the story form page one through to five the interior of the shoemakers house appear
to have the same décor and furniture style but I changed this at page six as the shoemakers income was far greater. The
original brown coloured walls changed to a green colour and then I also introduced another room with a red wall, the
furniture itself is commonly wood as I found this was historically accurate and that added to my colour scheme.
• The only real effect I used in my illustrations were ‘stroke’ which I did frequently on areas I felt needed to be defined so that
they didn’t just blend in amongst the background, this was useful as my colour scheme sometimes layered upon one
another like different shades of brown and the object on top of the background didn’t stand out enough. I would add this
stroke on a one pixel thickness with little to full opacity depending on the subject this can be seen
Main colour scheme:
With stroke
Without stroke
16. What signs, symbols or codes have
your used in your work?
• The meaning behind my location in the story is the fact that it is purely
based around this shoemaker’s shoe shop which doubles up as his home.
This is quite historical in a sense that with the days in which this story is
set you home and shop if you had one would be the same building but
nowadays you can own a house and then walk or drive down to a shop
you may own depending on the distance between you home and shop.
People can still live above their shops or turn their home into a shop but
it is far more common for them to be separate buildings now than when
the shoemaker had his shop in this story.
• The reason behind the style of my illustrations is that I wanted it to
appear realistic but not too realistic, so it has a sort of cartoony vibe to
it. So I made my characters have the common facial features that you
would see on a person but not as complex or detailed as if you were
looking at a real life person for example my characters do not have
noses, eyelashes, eyebrows or separated fingers with finger nails.
• My characters are cartoony in a sense that they have sort of mitten
hands, black teardrop eyes, black mouths and if showing a red tongue.
The characters differ in a sense that two are elves and the shoemaker
and his wife are humans, with this the elves have pointed pixie-like ears
opposed to rounded ones with colourful hair as in the story of pink and
green. The pink haired elf is a girl and her hair is presented in two neat
buns on top of her head and the green-haired elf is a boy with sharp
short hair ruffled on the top of his head and finally I gave the elves rosy
cheeks to imply their child-like innocence.
17. What representations can be found in
your work?
• How are men, women or children shown in your work? Does your work feature different ages, races, social
groups or religions? Does a lack of any variety of character types create its own representation?
• Gender wise women in my story/illustrations are represented how they would have been in the time that
the story is set. The women wear bright clothes or have their hair in their stereotypical colour palette of
pinks, yellows, pastel blues etc. the female elf and the shoemakers wife both wear dresses this is another
typical representation of the gender that would be present when the story was written. The men on the
other hand are wearing much darker colours like browns, black, greens and balancing them out with
whites or crème colours, men would wear these types of colours both now and when the story was
set/written because it is not an uncommon colour to wear with suits/waistcoats/trousers etc.
• Technically there are no children represented in my work unless you count the elves but as a mythical
creature they are typically represented as child-like in appearance but to define them as children would be
wrong because no ages are known. The shoemaker himself with grey hair appears as part of the older
generation which I believe he represents well and his wife may a little younger represents the same age
group, other than that my work doesn’t really represent that many age groups which I expected with only
four characters.
• My story doesn’t represent any races, social groups or religions but I suppose I could mention that in the
original story the shoemaker is religious in a sense that it states that he prays every-night and that may be
were the elves came from. But in my edited version of the story I did not include that part so it has no real
importance. The only differing race from the shoemaker are the elves because they are in sense a mythical
race but any other races that are non-fictional aren’t mentioned.
18. The shoemaker is quite an elderly man with glasses and grey hair,
with quite a kind nature, in the story he represents a man in an older
generation.
The shoemaker’s wife is referred to by this name throughout the
story, she wears dresses and sews as she makes the clothes for the
elves. This is a typical historical representation of a woman in any
story set around this time or early.
The female elf has bright pink hair and wears dresses also she is
neatly presented in my illustrations, they are as elves quite childlike
in appearance but their age range from the story is unknown.
The male elf has a messier appearance when in comparison to the
female elf, this may in some sense represent gender stereotypes as
she cares more for her appearance than he does.
19. What style have you employed in your
products?
• My visual style with character representation can resemble that of ‘The little princess’ art by
Tony Ross because his characters are also quite simplistic in appearance and the female
characters tend to wear skirts or dresses and the boys with trousers and shirts which sticks to
the stereotype and is historically accurate.
• I looked into the book ‘I want a friend’ in the little princess series by Tony Ross to consider it’s
art style in comparison to mine, the techniques he used to create his characters differ from
mine as I used Photoshop to create digital art and to me it looks like Tony Ross has drawn
them and coloured them in with watercolour or paints. But aside from that difference the
facial features and clothing are quite similar, the characters in this story have simple eyes and
a black line mouth with sharp spiked hair like mine but with one addition, they have a nose
and eyelashes.
• This shows to me that I have employed a very minimalist style to create my characters and
locations and they are quite cartoony in comparison with the shapes I have used to construct
them rather than filling in lines. I chose and like this style because it gives my work a more
original look that no other child’s book I have seen can compare to.
20. What style have you employed in your
products?
• My work was influenced by the Gruffalo with the intention to stick to a certain colour scheme
throughout my illustrations and to keep a minimal amount of characters.
• One thing that separates my work from that of the Gruffalo is that the techniques used to
construct the illustrations for this book differ from mine. My images were made digitally on
Photoshop whereas by the look of it the Gruffalo was constructed through drawings or
paintings then scanned and made digital.
• I used this book as an influence as it is a popular children’s book that has sold a lot of copies
and has good reviews on Amazon.
21. What were the strengths and weaknesses
of the pre-production and planning
• I think that the planning and pre-production helped me decide what I wanted to achieve with
my work. This is because I didn’t really know how to go about my art style, so first I looked
into the folktales knowing that I wanted to do a ‘Brothers Grimm’ story because they are
traditional and popular like sleeping beauty, Hansel and Gretel and the one I chose ‘ The
Shoemaker and the Elves’. I chose this story as it was one I was familiar with but others knew
little of which meant I could be original with it. I then did a test page to figure out the art
style that I wanted throughout my illustrations, I decided as it was planned in my second
spider diagram to make them cartoony and cute in some sense.
22. What were the strengths and weaknesses
of the pre-production and planning
• I think a strength about my planning was with my moodboards because they show different
art style with existing versions of the story on different platform such as illustrations, videos
and even online games. It also shows the different plans I had for my titles and the various
designs each of them had.
• Another strength about my pre-production was how small in scale the elves were going to be
in comparison to the shoemaker and his wife because I found that quite frequently the elves
are only just a little bit smaller than them but I wanted them dramatically smaller so I
managed to make this work with scaling differences and the right angles.
• One weakness about my planning and pre-production was that I didn’t test page any
locations for my illustrations so when it came to production I had to conjure up my
backgrounds which varied a little in style and colour as the story went on.
• Other than that I think I managed my time for this quite well considering I kept up to the
standard I planned with each page and started with the intention of doing eleven pages and
doing them with the addition of a title/front page.
23. Historical and cultural context
• How does your work compare to what has come before? What other similar products have
existed in the past? What current products exist?
• The Elves and the shoemaker book made in 2005 illustrated by Jim LaMarche is a popular
existing adaption of the original story by the brothers Grimm. It has sold many digital and
paper copies and was printed in hardback, the techniques used to create the illustrations in
this book was painting and LaMarche is very popular for his paintings so it was a good sell. I
think my work is more modern in comparison to this and this one looks more professional
and detailed but I was going for a minimalist style with a different technique.
• A flip up edition of the Elves and the Shoemaker by Alison Edgeson in 2007 also using a
different technique to mine as it looks pencil drawn and coloured with a bright colour
scheme throughout. I think my work is softer and darker in appearance with the techniques
and colour scheme I used but they are both original in there own way.
24. Historical and cultural context
• Two other versions I found of this story were ones in German which would have been the
original language for the book as the authors of the original story (brothers Grimm) were
German. I could not find a book from the time at which it was first written but I have the title
it would have been in German ‘Bradex Der Schuhmacher und die Heinzelmannchen’.
• The other version is the oldest I could find on Amazon which was published in 1965 written
by Vera Southgate and illustrated by Robert Lumley it is a hardback book that would appear
rare as it is being sold for £299.00. obviously because of how old this version is mine would
appear more modern and the techniques used for the older one are much more traditional
for stories in that time then the present.
25. Peer Feedback
• Summarise peer feedback and discuss
– Responses you agree with
– Responses you disagree with