Joseph Headford evaluated his graphic narrative project. He provided examples to explain his project and areas he praised or could improve. He used specific details about his work, both written and visual. He reflected on how well his final product achieved his original intentions and how well he constructed images. He discussed how he used text and whether his product was suitable for his audience. He analyzed the techniques he used and how the final product looked. He explained why he included certain content and the signs, symbols or codes in his work. He considered the strengths and weaknesses of his pre-production planning.
The document provides guidance for evaluating a graphic narrative project. The evaluation template suggests including specific details about the work, both written and visual examples to explain the project, areas to praise, and areas that could be improved. The evaluation should reflect on how well the intentions, images, use of text, suitability for audience, techniques, and final product turned out. Planning, research, character design, use of symbols and representations, and visual style are discussed. Overall, the evaluation template prompts a thorough reflective analysis of all aspects of creating the graphic narrative project.
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 and visual examples to explain the project. The template recommends adding additional slides as needed and deleting any blank slides before submission.
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. 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 author discusses changes made from their original plans for their graphic narrative project, including shortening the page count and switching from overlaying text to placing it on separate pages. They found that using the rotoscoping technique improved the quality and production speed compared to their original shape technique. Overall, they felt the changes improved the book by making it a more manageable length while still allowing for detailed illustrations.
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 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 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.
The document provides guidance for evaluating a graphic narrative project. The evaluation template suggests including specific details about the work, both written and visual examples to explain the project, areas to praise, and areas that could be improved. The evaluation should reflect on how well the intentions, images, use of text, suitability for audience, techniques, and final product turned out. Planning, research, character design, use of symbols and representations, and visual style are discussed. Overall, the evaluation template prompts a thorough reflective analysis of all aspects of creating the graphic narrative project.
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 and visual examples to explain the project. The template recommends adding additional slides as needed and deleting any blank slides before submission.
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. 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 author discusses changes made from their original plans for their graphic narrative project, including shortening the page count and switching from overlaying text to placing it on separate pages. They found that using the rotoscoping technique improved the quality and production speed compared to their original shape technique. Overall, they felt the changes improved the book by making it a more manageable length while still allowing for detailed illustrations.
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 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 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 3-2Bradley Cox
The document provides a template for evaluating a graphic narrative project. It prompts the creator to provide specific details and examples from their work to praise strengths and identify areas for improvement. The creator is also asked to reflect on how well their final product achieved their original intentions and planning. They should compare their storyboards, flat plans, and other pre-production materials to the final product.
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 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.
A presentation which states questions for me to answer which lets me self evaluate my children's book. I have added multiple opinions to my answers including what i could improve and what i think is good about my work.
Dom Midgley | Digital Graphics EvaluationDom Midgley
This document provides a template for evaluating a graphic narrative project. It prompts the creator to provide specific details and examples from their work to explain the project. It asks them to identify strengths and areas for improvement. It also includes questions about how well the final product reflects the original intentions, how the images were constructed, how text was used, the suitability for the intended audience, techniques used, and the overall style employed. The creator provides detailed responses analyzing various elements of their graphic narrative book for children.
The document provides 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 also prompts the user to identify areas of their work that are good or could be improved, and to be specific about why. The user is encouraged to add additional slides as needed and delete any blank slides before submission.
The document provides 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 also prompts the user to identify areas of their work that are good or could be improved, and to be specific about why. The user is encouraged to add additional slides as needed and delete any blank slides before submission.
- The creator's final product reflects their original intentions as they stuck closely to their original plans, only making minor changes during production.
- They constructed their images using rotoscoping and shape warping techniques to keep a simple yet slightly realistic style as planned for their young audience.
- They carefully placed simple text in areas of blank space on images to anchor the text without overlapping important parts of the images.
- Their book is suitable for the intended 5-7 year old audience with an appropriate amount of text to keep children engaged without becoming bored.
The document provides 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 suggests praising strong areas and identifying areas for improvement. The user should add details about how their final product reflects or differs from their original intentions, how well images and text are constructed and integrated, and the suitability of the project for its intended audience.
The document is a graphic narrative evaluation by the creator of a children's book. In their evaluation, the creator discusses several aspects of their final product compared to their original intentions and plans. Some key points:
- The creator's final product largely reflects their original plan, though some pages were adjusted for stylistic or clarity reasons.
- Shape manipulation and rotoscoping techniques allowed the creator to achieve their simple graphic style while constructing images.
- Text placement was improved in some instances by splitting text between pages to better anchor images.
- The intended target audience of 6-9 year olds from middle-upper class backgrounds remains suitable.
- Facial features were added despite not fully fitting the
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.
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 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.
The author created a graphic narrative adaptation of Hansel and Gretel for children aged 5-7. They used rotoscoping techniques to construct detailed images while rearranging scenes and separating text to improve readability. The language, characters, and story were tailored for the young audience but some scenes were simplified. Overall, the techniques allowed rich illustrations but some characters lacked consistency. The content stayed true to the original fairy tale setting while adjusting some elements for child readers.
The peer feedback praised the dark tone and evolving art style of the graphic narrative, noting how well it conveyed the darker themes through visuals alone. However, some feedback suggested improving character designs to better match the changing scenery and developing the historical setting more clearly. While the author agreed more could be done to sell the time period, they felt the character designs served the story appropriately given the limited production time.
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 is a reflection by a student on their graphic narrative project. They discuss how their final product aligned with their original proposal and intentions. They intended to make 10 pages but ended up with 9, merging two pages. The story plot stayed the same. They used rotoscoping as intended but less than expected. They experimented with background techniques like paisley patterns instead of collage as originally proposed. Overall they felt their final product closely matched the goals in their proposal.
The peer feedback was entirely positive. Feedback praised the clarity of the graphics, well-coordinated colors, highlighted text that stands out, and easy to read font. No suggestions were made for improvement, with one peer saying the graphics were "absolutely fine as they are" and another seeing "nothing that could be improved really."
This document contains biodata and achievements in poster competitions of MTri Sutrisno. It provides his personal details such as name, date of birth, address and hobbies. It then lists his achievements winning several categories in national poster competitions held between 2012-2014 in universities across Indonesia. The second part of the document discusses guidelines for making effective scientific and public posters including format, design principles, use of color, images and layout. It emphasizes on making the poster visually appealing, structured, informative and easy to understand for viewers.
Digital graphics evaluation pro forma 3-2Bradley Cox
The document provides a template for evaluating a graphic narrative project. It prompts the creator to provide specific details and examples from their work to praise strengths and identify areas for improvement. The creator is also asked to reflect on how well their final product achieved their original intentions and planning. They should compare their storyboards, flat plans, and other pre-production materials to the final product.
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 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.
A presentation which states questions for me to answer which lets me self evaluate my children's book. I have added multiple opinions to my answers including what i could improve and what i think is good about my work.
Dom Midgley | Digital Graphics EvaluationDom Midgley
This document provides a template for evaluating a graphic narrative project. It prompts the creator to provide specific details and examples from their work to explain the project. It asks them to identify strengths and areas for improvement. It also includes questions about how well the final product reflects the original intentions, how the images were constructed, how text was used, the suitability for the intended audience, techniques used, and the overall style employed. The creator provides detailed responses analyzing various elements of their graphic narrative book for children.
The document provides 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 also prompts the user to identify areas of their work that are good or could be improved, and to be specific about why. The user is encouraged to add additional slides as needed and delete any blank slides before submission.
The document provides 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 also prompts the user to identify areas of their work that are good or could be improved, and to be specific about why. The user is encouraged to add additional slides as needed and delete any blank slides before submission.
- The creator's final product reflects their original intentions as they stuck closely to their original plans, only making minor changes during production.
- They constructed their images using rotoscoping and shape warping techniques to keep a simple yet slightly realistic style as planned for their young audience.
- They carefully placed simple text in areas of blank space on images to anchor the text without overlapping important parts of the images.
- Their book is suitable for the intended 5-7 year old audience with an appropriate amount of text to keep children engaged without becoming bored.
The document provides 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 suggests praising strong areas and identifying areas for improvement. The user should add details about how their final product reflects or differs from their original intentions, how well images and text are constructed and integrated, and the suitability of the project for its intended audience.
The document is a graphic narrative evaluation by the creator of a children's book. In their evaluation, the creator discusses several aspects of their final product compared to their original intentions and plans. Some key points:
- The creator's final product largely reflects their original plan, though some pages were adjusted for stylistic or clarity reasons.
- Shape manipulation and rotoscoping techniques allowed the creator to achieve their simple graphic style while constructing images.
- Text placement was improved in some instances by splitting text between pages to better anchor images.
- The intended target audience of 6-9 year olds from middle-upper class backgrounds remains suitable.
- Facial features were added despite not fully fitting the
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.
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 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.
The author created a graphic narrative adaptation of Hansel and Gretel for children aged 5-7. They used rotoscoping techniques to construct detailed images while rearranging scenes and separating text to improve readability. The language, characters, and story were tailored for the young audience but some scenes were simplified. Overall, the techniques allowed rich illustrations but some characters lacked consistency. The content stayed true to the original fairy tale setting while adjusting some elements for child readers.
The peer feedback praised the dark tone and evolving art style of the graphic narrative, noting how well it conveyed the darker themes through visuals alone. However, some feedback suggested improving character designs to better match the changing scenery and developing the historical setting more clearly. While the author agreed more could be done to sell the time period, they felt the character designs served the story appropriately given the limited production time.
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 is a reflection by a student on their graphic narrative project. They discuss how their final product aligned with their original proposal and intentions. They intended to make 10 pages but ended up with 9, merging two pages. The story plot stayed the same. They used rotoscoping as intended but less than expected. They experimented with background techniques like paisley patterns instead of collage as originally proposed. Overall they felt their final product closely matched the goals in their proposal.
The peer feedback was entirely positive. Feedback praised the clarity of the graphics, well-coordinated colors, highlighted text that stands out, and easy to read font. No suggestions were made for improvement, with one peer saying the graphics were "absolutely fine as they are" and another seeing "nothing that could be improved really."
This document contains biodata and achievements in poster competitions of MTri Sutrisno. It provides his personal details such as name, date of birth, address and hobbies. It then lists his achievements winning several categories in national poster competitions held between 2012-2014 in universities across Indonesia. The second part of the document discusses guidelines for making effective scientific and public posters including format, design principles, use of color, images and layout. It emphasizes on making the poster visually appealing, structured, informative and easy to understand for viewers.
Maurice Sendak, artist and humanist, an expanded versionDave Shafer
A highly visual slideshow about the life and work of Maurice Sendak, with an emphasis on the roots of his art in the personality of his deeply unhappy man
The document discusses various stylistic features that writers use when crafting novels, including setting, characterization, structure, point of view, and literary and language devices. It notes that these choices help create atmosphere and dramatic tension. Students will analyze extracts to identify how the writer creates atmosphere and tension through point of view, punctuation, sentence structure, literary devices, and word choice. They will then discuss their findings and conclusions in groups before attempting to write their own paragraph using stylistic features to convey a particular atmosphere.
This document provides an introduction to JavaScript and jQuery. It defines JavaScript as a scripting language used to create dynamic and interactive web pages and applications. It resides in the browser rather than on the server. JavaScript uses functions to organize code into well-defined, reusable tasks. Functions are executed when events occur or when called from other scripts. The document also defines jQuery as a JavaScript library that simplifies client-side scripting with HTML through its selector engine and methods. jQuery code is linked in the page head or an external file below CSS but above other scripts.
Dokumen ini membahas tentang bahasa rupa khususnya yang bersifat ikonik (detonatif) dan simbolik (konotatif). Ikonik merupakan tanda yang memiliki kemiripan rupa dengan objek yang diwakilinya seperti peta dan foto. Simbolik adalah tanda yang berfungsi sebagai lambang untuk mewakili ide abstrak seperti burung merpati sebagai simbol perdamaian. Dokumen ini juga membedakan tanda ikonik, inde
1) The document provides guidance from peers on creating an effective horror movie trailer, including using eerie music, jump scares, flashing quick clips without showing the villain, and establishing shots to set the scene.
2) Advice also includes creating mystery and suspense around the villain, not revealing too much of the plot, using a variety of day and night shots, and close-ups to avoid revealing too much.
3) Additional tips are to make the trailer scary to identify the genre, include interesting plots and exciting titles to entice audiences, and use close-ups and high angles for professionalism. Tension, cliffhangers, dark lighting, ominous sounds, and quick transitions between close-ups
Poster adalah salah satu media publikasi yang menggunakan kombinasi teks dan gambar untuk menyampaikan informasi kepada masyarakat luas. Poster ditempel di tempat-tempat umum untuk menarik perhatian masyarakat. Tujuan dan isi poster beragam, mulai dari promosi produk, informasi kegiatan, hingga kampanye sosial.
- Maurice Sendak wrote and illustrated the children's book "Where the Wild Things Are" in 1963, which went on to win the Caldecott Medal and become a classic.
- While the story deals with realistic themes like childhood misbehavior, Sendak's illustrations for the book have a surreal style that enhances the dreamlike quality of Max's imagination adventure.
- Sendak skillfully uses elements like line, shape, color, texture, and composition in his illustrations to immerse readers in Max's journey and bring the wild things' world to life.
This document discusses CSS positioning properties. It explains static positioning as the default normal flow layout. It describes float as removing an element from the flow and allowing other content to wrap around it. Relative positioning is defined as positioning an element relative to its static position, while fixed takes an element out of flow and positions it relative to the browser window. Absolute positioning positions an element relative to its first positioned ancestor, removing it from the flow. Examples are given for float, relative, fixed, and absolute. Class exercises provide opportunities to practice these positioning techniques.
Research and analysis of images take 3Simon Gummer
This document provides guidance on analyzing photographic images. It discusses the formal visual elements of line, texture, pattern, shape, and form. It then profiles several photographers to exemplify each element. The document also covers the basics of image analysis, including framing, composition, lighting, and use of formal elements. When writing about an image, it advises describing the subject matter literally, then analyzing technical and contextual aspects to uncover meaning, and evaluating how effectively the image communicates. Students are given an exercise to discuss images using these analytical techniques.
1) The music video begins with close-up shots of Taylor Swift that portray her as the central figure and establish a romantic narrative between her and an unseen male character.
2) Through a series of shots that alternate between Taylor and the man in different settings, it becomes clear they are reminiscing about happier times in their past relationship while physically separated.
3) Taylor is shown trying to distance herself from the man and her feelings for him through shots of her alone in the woods, but the video suggests her feelings for him remain strong as it builds to their potential reconnection by the end.
Personality, Self-Image, and Life Style by Yukti Ahuja
Visit Website For More Updates
http://www.jimsindia.org/
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http://www.jimsindia.org/admissions2016
This document discusses portraiture and perspective in art. It begins by introducing the author, Ranjan Raghuvir Indumati Joshi, and their study of portraiture perspective. It then questions whether strictly following definitions of portraiture is necessary. Various definitions of portraiture, perspective, and personality types from sources like Wikipedia are provided. The document explores the history of portraiture and examples from different time periods and cultures. It also includes several of the author's own pencil drawings from 1970 portraying historical figures like Abraham Lincoln.
This document summarizes Jeff Croft's presentation at Web Directions South 2008 about elegant web typography. He discusses common myths about web typography and emphasizes that great typography is important for well-designed sites. Croft also covers techniques for achieving quality typography with CSS, including resetting styles, understanding font sizing with ems, and considering whether to use relative or absolute font sizes. The presentation provides guidance for thoughtfully designing typography at different sizes using a typographer's scale.
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 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.
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 summary evaluates a children's book project based on the template. It notes that illustrations helped plan page layouts and flat plans mirrored intentions. While techniques like rotoscoping and warping were useful, some images could be improved by filling gaps or adding missing details. Overall, the project reflects the target audience of ages 3-7 through its use of color, characters, and story elements.
The document is a graphic narrative evaluation by a student. In the summary:
- The student's final product mostly followed their original intentions, though some pages differed slightly from the original plan.
- They constructed images well with consistent textures, colors, and character styles, but could have added more character variations.
- Text effectively explains the images to anchor the story, though some text provides more detail than images.
- The book is now aimed at 3-6 year olds due to simpler images that still leave room for imagination compared to the original 4-8 year old audience.
Here is a summary of the peer feedback and my thoughts on it:
- Peers praised the simplistic cartoon style of the images and said it would appeal to children. I agree that the bright colors and clear lines help engage younger readers.
- Some felt the lack of character movement/poses was repetitive. I acknowledge this as an area for improvement, as reusing poses limited expression.
- Feedback noted the text generally anchored the images well but could be strengthened in a few spots. I agree the story could be clearer in those instances mentioned.
- Peers felt the 8-10 age range was appropriate. I'm glad the language and themes seem suitable.
- One peer said the story followed the
The document provides feedback from a graphic narrative evaluation. It includes 4 questions and responses from the creator. For the first question, the creator notes their final product had more detail than originally planned, including a different dragon color. For the second, they describe their digital process of scanning drawings, adding layers in Photoshop, and filling areas with color. The third response discusses text design choices to ensure readability. The fourth response argues the product is suitable for ages 3-8 due to its simple story, images, and avoidance of inappropriate content.
Here is a summary of the peer feedback and my thoughts on it:
Agree:
- The feedback that noted the lack of diversity in characters is valid. Representing only one race limits who can relate to the story. Adding diversity would make the book more inclusive.
- Simplifying the background creation process is a good suggestion. Using multiple layers for each element was time-consuming. Finding a more efficient method could improve the workflow.
Disagree:
- I don't agree that the story lacks originality just because it draws some inspiration from other works. All stories borrow and build upon previous tales. As long as the core plot and characters are distinct, borrowing elements is acceptable.
- While the
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, including both written and visual examples. It suggests praising strong elements and identifying areas for improvement. Blank slides should be deleted before submission. The document contains examples of an author evaluating consistency with their original intentions, adherence to specifications, visual construction, use of text, suitability for audience, production techniques, and representations in their work.
The document provides a template for evaluating a graphic narrative project. It instructs the user to provide both written and visual examples to explain the project. It suggests praising strong areas of the work and identifying areas for improvement. The template states that additional slides can be added as needed and 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 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 a template for evaluating a graphic narrative project. It prompts the creator to:
- Provide specific written and visual examples to explain the project.
- Praise areas of their work that are good or they are proud of, and find areas that could be improved.
- Reflect on whether the final product reflects the original intentions.
- Evaluate how well images and text were constructed and used to anchor the images.
- Consider if the product is suitable for the intended audience.
- Discuss techniques used and what is liked/disliked about them.
- Highlight what is liked/disliked about how the final product looks overall.
The document provides guidance for evaluating a project, including providing specific details about the work, written and visual examples, areas to praise, and areas for improvement. The respondent used this template to evaluate their children's book project. They analyzed how well their final product reflected their original intentions, how they constructed their images, used text to anchor images, ensured their product was suitable for the intended audience, the techniques they used, and their likes and dislikes about the final product and techniques.
The document provides an evaluation of a graphic narrative project. The creator feels their final product largely reflects their original intentions, including keeping a cartoon style, simple script, clear page layout, and 9-page length. They compare their project to the book "The Gingerbread Man" as a model with a similar cartoon style and short length. The creator believes their images are well-constructed using skills like shape manipulation. They have used text to complement rather than replace images. The project is suitable for its young audience through use of cartoon style, bright colors, minimal text, and simple language.
The document provides an evaluation of a graphic narrative project. It summarizes the key points made in each response. The creator feels their final product reflects their original intentions for layout, content, and style. While some changes were made, such as adding more scenery, the overall vision remained the same. The images are well constructed with a cartoon style, appropriate sizing, and bright colors. A small amount of complementary text is used to allow the images to be the main focus. The short length, simple language, and visuals make the product suitable for its intended young audience. The creator discusses both benefits and limitations of the techniques used. Overall, the work compares favorably to past versions while modernizing aspects like technology, language
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 summarizes the creator's process in developing a children's graphic narrative book. Some key points:
- The creator did extensive planning and research which informed their final product. The story and illustrations generally matched the initial plans.
- While the overall story remained the same, some elements like character perspectives and script details were adjusted during the creation process based on how the illustrations were developing.
- The creator analyzed professional children's books for guidance on layout techniques, using pages to best combine images and text for clarity and flow.
- Feedback is provided on how well constructed the images and use of color are, with notes on areas that could be improved if more time was spent on illustrations.
-
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.
A classmate provided feedback on my graphic narrative project. They praised the bright colors and cartoon style that would appeal to children. However, they noted that the text could be better integrated with the images to help tell the story. They also felt some of the character designs could be improved. I agreed that the text placement could be stronger but felt the character designs effectively conveyed the story.
The document outlines a student's digital graphic narrative development project, providing evaluations of various assignments including shape tasks, rotoscoping, film quotes, text-based work, comic books, photo stories, illustrations, and a narrative environment. The student effectively critiques their own work and identifies areas for improvement in future projects.
- The author used a rotoscoping technique to create images for their graphic narrative by tracing over copyright-free images in Photoshop. While this produced a unique style, it was very tedious.
- The final product looks good overall with bright colors and a simplistic yet somewhat realistic style. However, characters took a long time to create due to many layers.
- Elements like text placement, font choice, and blending text into images help make the book appealing and easy to read for its target audience of 3-9 year olds. However, the rotoscoping technique was very time-consuming.
Similar to Digital graphics evaluation pro forma (20)
The document discusses various methods for sourcing and processing images for use in publications. It describes advantages and disadvantages of sourcing images from books, Google Images, stock image libraries, copyright-free sites, and taking one's own photos. Key methods addressed include scanning images from books, searching Google Images, purchasing stock photos, using free images, and producing custom photos. The document also reviews processing techniques like cropping, scaling, and changing image resolution for print versus web. Manipulating photos through editing tools is demonstrated with an example caption added to a historical parachute suit image.
Animals raised for food and clothing often suffer due to intensive farming practices that prioritize high production and profits over welfare. Broiler chickens are bred to grow very quickly, straining their legs and often causing burns. Laying hens, whether cage, barn, or free range systems, are subjected to overcrowding and cannot perform natural behaviors. Sows are confined in farrowing crates too small for turning around. Piglets are castrated and docked without pain relief. Dairy calves endure disbudding and castration without anesthetic. All animals face stressful transport and inhumane slaughter conditions, suggesting the need to avoid contributing to these cruel industries.
This document discusses case studies of advertisements created by advocacy groups Moms Demand Action, Greenpeace, and WWF.
The Moms Demand Action advertisement comments on gun safety laws in America following the Sandy Hook shooting. Greenpeace criticizes an oil spill by BP to raise awareness about oil companies' environmental impact. WWF uses the metaphor of a melting ice cream cone to represent global warming and grab attention.
All three groups aim to campaign for issues, raise awareness, and potentially influence policy through visual advertisements that utilize simple, direct techniques to communicate their messages effectively. While policy changes have been slow, these advocacy groups have been successful at bringing important issues to the public sphere and pressuring governments on topics like gun
This document discusses and compares three gaming magazines: the official Xbox, Nintendo, and PlayStation magazines. It summarizes key aspects of each magazine, such as intended audience and content, and notes similarities between their covers in terms of graphics, colors, and emphasis on new releases. The magazines share features like consistent mastheads but also reflect the different target demographics of their respective consoles through cover images and tones. All three magazines are printed on glossy paper to justify their premium monthly prices between £4-6.
This document outlines different types of briefs that can be used between media companies and clients. It discusses contractual, formal, informal, co-operative, negotiated, commission, tender, competition, and my brief. For each brief type, it provides the definition, advantages, and disadvantages. It also discusses reading the brief thoroughly, negotiating the brief with the client, potential legal/ethical issues, and opportunities the brief allows for exploration.
The document describes marketing materials for The Little Ripon Bookshop including a postcard featuring the bookshop, a bookmark with the bookshop name and logo, and a roller poster advertising the bookshop.
PlayStation Magazine is the official UK magazine for the PlayStation platform. It was first launched in 1995 to coincide with the original PlayStation console release. The magazine predominantly appeals to males aged 35 on average. It uses complex language and covers a variety of game genres to appeal to its older, more educated readership. Each issue features a different colored theme related to a new game release and includes promotional items to incentivize purchases.
There are two main types of data: quantitative and qualitative. Quantitative data focuses on numerical measurements and statistical analysis through methods like surveys and questionnaires. Qualitative data focuses on opinions and detailed information, usually collected through open-ended written responses. Media producers define their audience through various profiling methods like demographics, socioeconomic status, geodemographics, psychodemographics, and identifying mainstream versus niche audiences. This helps media producers understand who their target audience is and how to best appeal to and market their products.
The document discusses the constraints Joseph Headford faced during a client project. His greatest constraint was lack of access to a powerful computer, requiring him to work at college. He also had limited interaction with the client due to infrequent meetings, relying on email correspondence instead. While he had access to necessary software and resources, the two week timeline was restrictive, limiting meetings with the client and time for high quality work. However, he was able to meet the deadline through efficient time management and regular communication with the client.
Here is a treatment for the client project:
You open the roller poster to be greeted by a familiar sight - the bright blue exterior of The Little Ripon Bookshop. Nestled amongst intricate brick details, the shop's name is proudly displayed at the top in a classic serif font.
Your eyes are then drawn to vibrant windows showcasing the books, cards, and gifts available inside. Recommendations and events are highlighted to entice browsing. At the bottom, contact information beckons visitors to explore the shop's offerings for themselves.
Flipping the postcard brings the bookshop's facade to life. Vibrant colors pop off the page, transporting you down the street to take in the charming
The client has asked the pitch writer to design simple, text-heavy products like bookmarks and postcards to provide information to customers in an aesthetically pleasing way for a shop. Imagery will also be included but be less prominent than the text. The pitch writer can complete the project independently at home without assistance or budget, due to the simple nature of the designs requested.
There are several types of briefs that media companies may receive when working on projects, including contractual, formal, informal, co-operative, negotiated, commission, tender, and competition briefs. It is important to carefully read any brief to fully understand what is being asked and ensure there are no issues like unrealistic deadlines. Elements of the brief like the proposed product, budget, or conditions may need to be negotiated or amended based on legal/ethical constraints or available resources. Working from a brief provides opportunities for self-development through acquiring new skills and experience collaborating with others on larger projects.
This project pitch involves producing simple, text-heavy designs for a shop including bookmarks, postcards, and a poster using imagery and text to provide information about the shop's theme and products in an aesthetically pleasing way. The client has requested straightforward graphic designs that can be easily produced alone from home without an extensive budget.
The document discusses the development of a social action campaign promoting LGBTQ+ rights. The creator aimed to design pieces that were striking, simple, and conveyed the campaign's message clearly without room for confusion. Based on feedback, the initial logo idea was refined to be more appropriate and sensitive. Overall, the techniques used were effective at creating shareable graphics that raise awareness of the issue in an accessible way.
The document discusses the development of a social action campaign promoting LGBTQ rights. The creator aimed to design pieces that were striking, simple, and conveyed the campaign's message clearly without room for confusion. This included refining an initial pun-based logo to instead feature bright colors and the phrase "Just Be U." Feedback indicates the pieces communicate support for LGBTQ individuals and normalize diverse identities while educating audiences.
The document discusses logo ideas and merchandise designs for a social action campaign. The first logo ideas were deemed inappropriate because they did not properly represent the serious issue of the campaign. The second logo was more successful as an icon but did not clearly convey the campaign's intentions. Different text styles were then experimented with for merchandise. Merchandise designs were created that help promote togetherness and raise awareness while also providing income for the charity.
This document provides logo ideas and designs for merchandise that a charity plans to sell or give away to raise funds and awareness. The merchandise board shows potential product options and designs that could be sold or distributed to advertise the brand and charity while providing them an income source. Campaign materials are also mentioned as items that will be given away at events to maintain public awareness of the cause.
Stonewall was founded in 1989 in opposition to Section 28, a law that aimed to prevent the promotion of homosexuality and stigmatized the LGBT community. Its goal was to create a professional lobbying group to advocate for LGBTQ equality and prevent similar discriminatory laws. Stonewall has helped push for equality through support in political parties and now has offices across England, Scotland, and Wales. It campaigns for gay and trans rights and equality in areas like the workplace and institutions. Some of its successes include lifting the ban on gay people in the military and allowing same-sex couples to adopt. Its priorities are empowering individuals, transforming institutions to support LGBTQ equality, changing hearts and minds, and changing laws to support gender diversity and sexuality
This case study examines a poster campaign created by the non-profit organization Moms Demand Action for Gun Sense in America. The campaign aims to promote safer gun regulations and policies through provocative imagery and messaging. Specifically, the poster comments on how children's stories are banned to protect kids while guns are widely available. It uses an image of little girls holding a gun to draw attention to this issue in a striking yet simple style. While the US government has not enacted major gun law reforms in response to mass shootings, campaigns like this one have helped raise awareness of the issue and put pressure on politicians to take action.
This document outlines logo ideas and merchandise for a social action production company. It discusses developing branded merchandise like t-shirts or hats to sell and raise money for charity while also advertising the brand. It also mentions making charitable products like flyers or pamphlets to give away at events and campaigns to help maintain public awareness of the cause.
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Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, 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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THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
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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?
For the most part my final product does reflect my original intentions for this project. The telling of the
story has changed slightly however the art style has, for the most part stayed the same. I chose an
Aesop's fable by the names of ‘The Fox and The Grapes’. Originally I intended to leave the story in its
vanilla form and not alter the characters structure or elements. I however found that the story was
lacking a element of conflict and so inserted a human gardener as the antagonist. Following attempting
to produce test assets for characters I found that human characters were difficult and very time-
consuming to create. So instead of using a human character as the antagonist I instead used a guard
dog allowing me to continue with the theme of anthropomorphism.
When I started work planning the process and style of my book I had intended to use a block colour,
cell stylised technique similar to that found in the popular animated television show ‘Dexter’s
laboratory’ or ‘Regular Show’ (as seen on Cartoon Network). However while producing a test page I
discovered a game called ‘Tearaway’ – a recently released video game for the PlayStation that is set in a
world made up of cardboard and paper. I decidedly implemented this style into my work by creating a
clipping mask using a paper texture (see slide 6).
The result was an attractive and unique style that easily draws the readers attention to the page and
could allow the inclusion of a tactile, interactive element to the book for younger readers.
While these changes were not originally intended when I began, I feel that they have
only improved my work and made it more appropriate and suitable for younger readers.
4. How well have you constructed your
images?
When creating the pages for my children’s book I worked
chronologically allowing me to spend as much time as needed to
ensure that every one was as high a quality as possible. Because of
this and pre-planning I found it easier to create aesthetically
pleasing and interesting pages.
I think that my use of colour and texture is bright and varied which
draws the attention of the reader and helps them to focus on each
page.
I purposefully used colour to help direct the reader to points of
interest on each page. As shown by the colour wheel (right), green
is opposite orange and red. This means that when next to one
another the colours compliment each other and ‘pop’ making
them look bright and vibrant.
In the example (right) both the use of colour and the positioning of
the fox in the centre of the page help the reader to focus their
attention on the fox.
I also attempted to make use of texture to possibly add a tactile
element to the story. This physical interaction can be very useful,
especially with very young children and children with varying
learning difficulties as it gives them a way to explore the book and
story physically. It can also simply act to hold the attention of the
reader while they progress through the story.
5. When creating the digital and visual element of the ‘Paper’ texture for my pages I
used a simple and easily re-creatable technique. I used a royalty free stock photos
of textured and crumpled paper and created a clipping mask using this over the
character assets I made. I then used a colour burn filter on the mask in order to
allow the details of the assets to be seen. Finally I adjusted the colour balance, light
balance and saturation of the texture completing the changes.
This process, being both simple and easily re-creatable means that each page can
be made as similar to one another as possible building a consistency throughout
the story visually.
Without this technique being easily re-creatable each page would have small
inconsistencies in the overall style and details of the backgrounds and characters.
6. How well have you used text to anchor
your images?
When deciding on whether I would change the format of
the story I chose not to alter it’s original form as simply
adding the visual element to the story was enough to
faithfully tell the story.
I had two ways in which I could incorporate the text into
the book: to include it with the illustrations on each page
or to write all the text out on separate pages as it’s own
part of the novel. I chose the former as the latter Is better
when there is much more text and a more descriptive
story included along side illustrations.
I used text vey sparingly and made it easily distinguishable
from the background and characters on each page. Some
pages I didn’t use text at all and relied completely on the
image to tell the story.
Choosing a font surprisingly difficult. Finding a style that
both stood out from the page and was easy to read and
clear was challenging. I eventually decided to use the font
‘Baskerville’ as it is clearly readable and recognisable by
young readers and stands out from the cartoon style of
the characters and background of each page that it is
included on.
However if given the chance to recreate this project I
would spend a lot more time on the text to ensure that it
is the best possible choice for the story.
“…text… on separate pages...”
“…incorporate text along side illustrations…”
7. Is your product suitable for your
audience?
My target audience are aged between 2 and 6 as my product is a simple story with
inoffensive themes and no challenging messages or moral. Because of this it is
incredibly simple and would only serve as basic entertainment for very young children.
My book is based upon a simple children’s story (Aesop’s Fable) that contains no
conflict or offensive or potentially scary content. Because of this I only had to worry
about how the visual content would be received. To ensure that my product was
appropriate I only used simplistic characters and colourful natural imagery and did not
explore themes of violence, death, fear or other offensive themes.
The theme of the story could be argued to revolve around family and exploration and
so does not intend or teach a message that involves violence or other undesirable
themes for young readers. The colourful, bright and friendly imagery will appeal to
younger children and allow them to become more engaged with the story.
8. What do you like/dislike about the
techniques you have used?
I liked the clipping mask because as I learnt to use it and other similar tools I found
them to be a quick and easy way to produce high quality work in a relatively short
period of time. I used the clipping mask tool specifically to create a paper texture on
all of my assets, characters and set designs. This helped me to create the unique style
shown in my product.
As I explained previously I purposefully used the colour orange and green because
they are opposite one another on the colour wheel. This means that the colours when
against each other contrast and ‘pop’ drawing the readers attention to specific details
on each page.
When implementing the colour and clipping mask textures I also used the saturation
tool and light balance tools to adjust and optimise the colours to make each page as
bright as possible. I also made use f these tools to define the shaded areas of the
paper texture in order to make it look as realistic to actual crumpled paper as possible.
Colour was also, later on a very useful tool as it allowed me to make sure each
individual page was all the same or a very similar, consistent colour or shade.
One technique that I used that I feel was particularly successful in my creation process
was my use of shapes to create my characters without source images. While this was a
complicated technique it allowed me to create very natural looking characters.
9. What do you like/dislike about how
your final product looks?
I like how my product almost ‘pops’ off the page because of my
use of colour in contrast with the background and other
features. My use of colour was careful and thought out
meaning that I am happy and satisfied with the result.
However I felt that it took far to long to create each page
because of the time constraints upon me. If I had spent as
much time as I wanted to on my work I would have probably at
least doubled the amount of time I spent creating the pages of
my book. This will have also allowed me more time to refine
the style of my product as I noticed while working through the
pages that my style very slightly changed between pages one
and 6.
Specifically I do not like how the some of the characters
physically look. This is because I did not have enough time to
perfect the positioning and angle of their bodies to make sure
that they looked natural and realistic in stance.
For example, in the image to the right I had to reuse and
therefore, reshape the character model from a previous page
as creating an entirely new model would have taken far too
much time. Because of this I feel that the character looks
somewhat ‘wooden’ and lifeless, unlike that of the first panel of
the second page which is very natural in appearance; however
that model took a very long time to create and perfect.
However I feel that the overall paper style was well
implemented as the clipping mask tool technique
allowed me to easily create the paper texture using little
time and little effort. This meant I only had to create the
shape and small details before adding on the texture
later on. Because of this I could also consistently create
very similar looking assets meaning that the style was
recognisable as belonging to this product. Because of
this my product is unique and can easily be recognised as
such.
10. Why did you include the content you
used?
I used colour carefully to contrast with the surround features and background in order
to draw the readers attention to specific areas of each page. I used his to best effect
when the fox was on the page as the bright orange is in direct contrast with the colour
green which is heavily used in the background and features of each page. This is
because orange is almost directly opposite green on the colour wheel.
Additionally I used a crumpled paper texture throughout the story to stylise the image
and make it look unique and stand out. This cold also be used as a tactile element for
very young children that may rely more on physical and visual elements than literary
techniques in order to tell a story. This would also serve to retain the attention of this
age group.
I used the effect of a shadow on all the layers in order to create the impression that
the ‘paper’ was layered and sat on top of each other with a light source directly
above. This helped to lend towards the hand made aesthetic that I liked. To do this I
simply used a gaussian blur on a copy of each asset and placed below the original
version. This gave the asset a drop shadow around the entre image instead of a
directional one found in the drop shadow effect tool.
11. What signs, symbols or codes have
your used in your work?
In page one we can see the fox and her cubs
laid in a clearing next to a small body of water.
The fox has her tail wrapped around the cubs.
This could be showing the protection and
parental position that the fox holds for the
cubs. In many cultures (especially those in the
Western Hemisphere) the fox as a character is
almost always a trickster or thief; even in
children’s media. This is shown in the original
story of the fox and the grapes and my own
work as the fox does attempt to steal/steals the
grapes from a garden.
My over use of the colour green arguably is
meant to show that the story is set in the
natural world and has basically no interaction
with human characters or the human world at
all.
‘The Swiper’ – ‘Dora
the Explorer’
‘Fantastic Mr. Fox’
– Fantastic Mr. Fox,
by Roald Dahl, as
drawn by Quentin
Blake
12. The colour of the fox and how it contrasts with
the green background is a fantastic coincidence
as orange is opposite to green on the colour
wheel meaning that it stands out drawing the
attention. However I chose to use a very bright
and vibrant orange because it gives the
impression of life and exciting colour. Because of
this the fox will be automatically related to
positively by the reader. On the other hand the
black dog, a dark character will be seen
negatively because it is gloomy and can
represent fear. The image of a black dog is also
synonymous with depression as coined by
Winston Churchill in letters to his wife regarding
his manic depression.
In the second page (bottom right) we can see
that the fox is again acting protective and loving
towards the bubs. This time however she
appears to take a more defiant stance as if on
look out for danger. In the second panel of this
page the fox is leaving the cubs to look for food,
but she doesn’t appear concerned, hesitant or
scared; she seems confident. This gives the
impression that she is not worried about herself
as she ventures out in search for food, for her
cubs.
13. Audience Responses
Cultural competence:
Media texts require us to have a certain level of cultural understanding to
be able to interpret them.
At a basic level, this could mean being able to read the language that a
magazine is written in.
At a deeper level, it means being able to interpret signs and symbols that
we use a visual shorthand to communicate ideas.
We recognise these signs in our own culture but find it harder to
understand when looking at others.
We create and attach meaning to signs and symbols in many different
forms.
13Creative Media Production 2012
14. Audience Responses
Cultural competence:
What is this?
This is a Norwegian Pine tree, covered in
snow and with a red ribbon on.
Our cultural understanding allows us to
interpret its meaning.
To us, in British society, it means
Christmas, presents and family.
This is because we share a cultural
knowledge.
14Creative Media Production 2012
15. Audience Responses
Cultural competence:
There are many other signs and symbols
that we attach meaning to.
A leather jacket can imply rebellion.
A sports car can imply wealth and power.
A cross can represent religion.
15Creative Media Production 2012
16. Audience Responses
Cultural competence:
Visual representations of everyday objects are often the same the world
over. A car appears as a car, no matter what country it appears in.
What that car means however, can be very different depending on your
cultural background.
16Creative Media Production 2012
17. What representations can be found in
your work?
My product only makes use of two specific characters, and both are animals
(anthropomorphic). Also while the fox is expressive and explores the dog does not
actually interact with the audience change position or take a leading role within the
story and instead only represents a potential danger/threat towards the fox.
Because of this there are no racial, gender or cultural biases shown in the novel
leaving it politically neutral and inoffensive.
The dog represents danger and fear, however because of difficulties I did not make
this character an immediate danger to the main character.
18. What style have you employed in your
products?
My main influence when producing my
product was the video game collection
‘Tearaway’, a series of interactive video
games that are based in a world entirely
made of paper and cardboard.
I enjoyed the stop motion style animation
and how it made the world and characters
look handmade. Following this I attempted
to find other ‘paper’ style animations and
children’s books in order to draw inspiration
from. However I could not find any
appropriately stylized children’s books.
Instead I managed to find a short animation
titled simply ‘Paper’ that used the paper
texture upon a character made of paper. By
using the clipping mask tool I managed to
produce a similar result, however I preferred
the crumpled paper texture from ‘Tearaway’
rather than the flat texture of ‘Paper’.
Paper, By
Mathieu
AUBRY
19. What were the strengths and weaknesses
of the pre-production and planning
I feel that my research was very useful when deciding on where I wanted to take my product in style, story and
production methods. I began by creating a mind map (as shown on the next slide) about the children’s story ‘The Fox
and the Grapes’ to help in deciding on what kind of story I wanted to create.
Even though I planned out my work in detail and attempted to create a timed schedule, I had unrealistic expectations
on how much time it would take me to create each page and all the assets included. Because of this I quickly got
behind my intended schedule and so had to remove some unneeded details and pages that I would have otherwise
liked to include. The most time consuming part of production was my creation of my character assets as they contained
the most amount of detail. This became evident to me during my test page work, however I felt that this was simply
because I had only just began work on creating the characters. I assumed that with each character I would gradually get
better and faster at creating them. What I soon learnt was that it depended highly upon each individual character
model and it’s positioning in the page as each one required a different level of specificity.
However, on the other hand I feel that the test page was a particularly successful part of the pre-production as it
helped me to establish the style that I used in the final product. It also assisted me in deciding on how to stylise the
shape and positioning of characters (specifically the fox). I felt that the test page was so successful that I decided to use
it as my first page in the book.
20. Hold ctrl and press +
to zoom. Use the
arrow keys to scroll.
21. Historical and cultural context
‘The Fox and the Grapes’ is one of
the Aesop's fables. The narration in the
original text is concise and subsequent
retellings have often been equally terse.
The story is about an
anthropomorphic fox that tries to steal
some grapes to eat from a vine but
cannot reach them. Rather than admit
defeat, it denies they are what he
expected saying ‘they are sour anyway.’
It seems that most of the retellings before
2000 were quite true to the original tale.
However more recent retellings have
taken a more artistic and abstract way. For
example; the story ‘Lousy Rotten Stinkin’
Grapes’ adds several more characters and
an interesting plot line that is very
different to the originally intended tale.
22. Peer Feedback
From my peer feedback I feel confident that my proposal was in depth enough that
someone could complete the task to a similar effect that I have. I included the page
style, format and story overview to enough detail to allow them to recreate my
product. While the story portion has been changed through the creation process as I
suggested in the proposal, this detail can be easily added if needed. I also also
mentioned the possibility of using an anthropomorphic character that would allow
readers to relate to the main character despite the lack of any human interaction.
When the peer feedback was completed I had not decided on the exact dimensions
that I wished to create the book in. This was one of the main criticisms of my planning,
I had not planned far ahead enough before beginning production. In fact I did not
decide on my final product size until I started production drawing direct inspiration
from the comic book ASDF: Art is Dead by Thomas Ridgewell. I finally decided on 8
inches wide by 4 inches tall.
Most specifically I was suggested to include annotations on my mood boards which I
soon added.