The document summarizes the planning, production process, and evaluation of a graphic narrative created by the author. Some key points:
- The author created storyboards early in the process using stock images to plan page layouts and ensure their final product reflected original intentions.
- Characters and backgrounds were constructed in Photoshop using basic tools like the lasso tool and layers. Text was placed in high-contrast areas for readability.
- Through experimenting with facial expressions and shadowing, the author aimed to make characters more lifelike despite the simple cartoon style.
- While mostly pleased with achieving their cartoon aesthetic and 3D effects, the author notes some technical issues like inconsistent character details and
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.
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 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."
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.
Little Red Riding Hood is sent by her mother to deliver cake and wine to her sick grandmother, but encounters a wolf along the way who tricks her and eats her grandmother before impersonating her in bed; when Little Red Riding Hood arrives the wolf reveals himself and eats her too before being killed by a hunter who rescues the two from the wolf's stomach.
The document contains evaluations from students on various digital graphic tasks they completed, providing what they liked about their images and how they could improve. Students provided feedback on tasks involving shapes, gradients, rotoscoping, narratives, environments, and more. Many commented on using tools like the gradient and selection tools more effectively or adding more details.
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 contains evaluations of various digital graphic projects completed by Taynie Gage. It includes critiques of images created including a cartoon panda, wolf, rotoscoped portraits, and images for a comic book. Areas for improvement are identified such as adding more shading, improving shapes, and including more details. A children's book proposal is also summarized, outlining dimensions, a story overview of Alice in Wonderland characters visiting the real world, intended format, deadline, target audience, and production methods using rotoscope techniques. Strengths identified are clear communication, while areas for development include expanding on the story and production details.
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.
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 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."
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.
Little Red Riding Hood is sent by her mother to deliver cake and wine to her sick grandmother, but encounters a wolf along the way who tricks her and eats her grandmother before impersonating her in bed; when Little Red Riding Hood arrives the wolf reveals himself and eats her too before being killed by a hunter who rescues the two from the wolf's stomach.
The document contains evaluations from students on various digital graphic tasks they completed, providing what they liked about their images and how they could improve. Students provided feedback on tasks involving shapes, gradients, rotoscoping, narratives, environments, and more. Many commented on using tools like the gradient and selection tools more effectively or adding more details.
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 contains evaluations of various digital graphic projects completed by Taynie Gage. It includes critiques of images created including a cartoon panda, wolf, rotoscoped portraits, and images for a comic book. Areas for improvement are identified such as adding more shading, improving shapes, and including more details. A children's book proposal is also summarized, outlining dimensions, a story overview of Alice in Wonderland characters visiting the real world, intended format, deadline, target audience, and production methods using rotoscope techniques. Strengths identified are clear communication, while areas for development include expanding on the story and production details.
The document outlines Josh Highton's experiments with different digital graphic techniques including shape tasks, rotoscoping, incorporating film quotes, using text, and creating comic book styles. For each technique, Josh provides self-evaluations on what he liked and how he could improve, showing a reflective process of developing skills in digital graphic narratives.
The digital graphic narrative proposal provides details for a children's book project. Key points include:
- The story is about two deer named Joe and Francis in a zoo, with Joe believing he is the lion.
- Production methods of drawing pages and scanning them into Photoshop are outlined.
- Dimensions, export format, deadline and target audience are specified.
- Feedback notes the original story idea but questions how understandable it will be for children. Areas for further explanation like character distinction and coloring techniques are identified.
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 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 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 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 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 creator to summarize their original intentions, compare the final product to early plans, analyze the construction of images and use of text, and reflect on the suitability of the content for the intended audience. The creator is also asked to describe their favorite and least favorite techniques, and to identify any representations, styles, or cultural references employed in the work.
The proposal outlines a children's book about the myth of Hercules. Key details include:
- The story will follow Hercules completing his 12 labors to rescue his kidnapped wife
- Illustrations will use a cartoon style with simple shapes to appeal to children
- Pages will have images on the left and text on the right for easy reading
Areas identified for improvement include clarifying the file format, ensuring the title font is readable, and providing more details on background settings for scenes. Overall, the proposal demonstrates a strong understanding of the character and story, with only minor elements needing further elaboration. The idea generation process incorporated mood boards and was well thought out, though could have expanded on the
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 provides evaluations of different digital graphic narrative assignments completed by Katy Fleetham, including shape tasks, rotoscoping, text-based images, comic book filters, photography, and illustrations. Katy provides what she likes about each piece and areas for improvement if she was to redo the assignments. The feedback shows Katy's developing skills with different digital graphic techniques.
The document contains evaluations from a student of various digital graphic narrative exercises they completed, including shaping and warping images, adding rotoscoping, incorporating film quotes, experimenting with fonts, creating comic book style images, telling photo stories, illustrating, and building narrative environments. The student provides what they liked about each image and how they could improve if doing the project again, offering feedback on developing their skills in digital graphic narratives.
- The document contains evaluations from a student on various digital graphic narrative assignments they completed, including shaping images, adding rotoscoping, creating film quotes, manipulating text, comic book elements, photo stories, illustrations, and narrative environments.
- For each assignment, the student describes what they liked about their work and how they would improve it. Common feedback includes adding more details, colors, and background elements to make the images more interesting and visually engaging.
- The document also includes idea generation and inspiration from children's stories, a script draft, and a proposal that provides an overview of the planned story, dimensions, export format, production timeline, and intended audience. The proposal describes the production methods but could provide more story
The document outlines a story about a boy named Little Blue Hat who goes to visit his sick grandmother in the woods, but encounters a wolf along the way. The wolf tricks Little Blue Hat into leaving to pick flowers, while the wolf goes to the grandmother's house, eats her, and disguises himself as the grandmother to try and eat Little Blue Hat too. The story is presented over 9 pages in a script format and includes feedback from the creator on ways to improve the story and images.
The document contains evaluations from students on various graphic design exercises they completed. It includes feedback on images of a duck, tennis player Roger Federer, a city skyline, text with patterns, boxing gloves, actress Angelina Jolie, and a Cinderella illustration. Students provided what they liked about their images and how they could be improved. The feedback showed an understanding of techniques like rotoscoping, highlights and shadows, and using different tools to enhance images.
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.
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 details from a student's digital graphic narrative development tasks. It includes evaluations of images the student created, including an elephant, panda, and text. For most images, the student likes the overall structure and outlines but notes improvements that could be made, such as adding more details or changing colors. The student also provides feedback on idea generation and storyboarding tasks for a comic book proposal.
The document contains evaluations of images and ideas for a digital graphic narrative project. In the first evaluation, the author likes the outline and shaping of an elephant head and trunk in an image. They would improve it by choosing a simpler animal or a different elephant pose. The second evaluation is of an improved elephant image with added texture and ear detailing. The author likes the blurring effects but would improve the leg shaping. Further evaluations discuss images of a panda, different emotions in photographs, and a flower illustration. Ideas considered for a book include different fonts, characters, planets, robots, and layout dimensions. The author analyzes elements they like and would potentially incorporate into their graphic narrative project.
This document introduces Dennis Conyers, a multi-instrumentalist, composer, arranger, producer, and tour manager from Brooklyn, NY. Over his 34-year career, he has gained experience travelling the world and working with artists globally, while adapting to various tasks. He aims to attract new clients and collaborate with others to continue exhibiting his talents through music production, songwriting, and arrangement work.
The document outlines Josh Highton's experiments with different digital graphic techniques including shape tasks, rotoscoping, incorporating film quotes, using text, and creating comic book styles. For each technique, Josh provides self-evaluations on what he liked and how he could improve, showing a reflective process of developing skills in digital graphic narratives.
The digital graphic narrative proposal provides details for a children's book project. Key points include:
- The story is about two deer named Joe and Francis in a zoo, with Joe believing he is the lion.
- Production methods of drawing pages and scanning them into Photoshop are outlined.
- Dimensions, export format, deadline and target audience are specified.
- Feedback notes the original story idea but questions how understandable it will be for children. Areas for further explanation like character distinction and coloring techniques are identified.
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 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 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 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 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 creator to summarize their original intentions, compare the final product to early plans, analyze the construction of images and use of text, and reflect on the suitability of the content for the intended audience. The creator is also asked to describe their favorite and least favorite techniques, and to identify any representations, styles, or cultural references employed in the work.
The proposal outlines a children's book about the myth of Hercules. Key details include:
- The story will follow Hercules completing his 12 labors to rescue his kidnapped wife
- Illustrations will use a cartoon style with simple shapes to appeal to children
- Pages will have images on the left and text on the right for easy reading
Areas identified for improvement include clarifying the file format, ensuring the title font is readable, and providing more details on background settings for scenes. Overall, the proposal demonstrates a strong understanding of the character and story, with only minor elements needing further elaboration. The idea generation process incorporated mood boards and was well thought out, though could have expanded on the
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 provides evaluations of different digital graphic narrative assignments completed by Katy Fleetham, including shape tasks, rotoscoping, text-based images, comic book filters, photography, and illustrations. Katy provides what she likes about each piece and areas for improvement if she was to redo the assignments. The feedback shows Katy's developing skills with different digital graphic techniques.
The document contains evaluations from a student of various digital graphic narrative exercises they completed, including shaping and warping images, adding rotoscoping, incorporating film quotes, experimenting with fonts, creating comic book style images, telling photo stories, illustrating, and building narrative environments. The student provides what they liked about each image and how they could improve if doing the project again, offering feedback on developing their skills in digital graphic narratives.
- The document contains evaluations from a student on various digital graphic narrative assignments they completed, including shaping images, adding rotoscoping, creating film quotes, manipulating text, comic book elements, photo stories, illustrations, and narrative environments.
- For each assignment, the student describes what they liked about their work and how they would improve it. Common feedback includes adding more details, colors, and background elements to make the images more interesting and visually engaging.
- The document also includes idea generation and inspiration from children's stories, a script draft, and a proposal that provides an overview of the planned story, dimensions, export format, production timeline, and intended audience. The proposal describes the production methods but could provide more story
The document outlines a story about a boy named Little Blue Hat who goes to visit his sick grandmother in the woods, but encounters a wolf along the way. The wolf tricks Little Blue Hat into leaving to pick flowers, while the wolf goes to the grandmother's house, eats her, and disguises himself as the grandmother to try and eat Little Blue Hat too. The story is presented over 9 pages in a script format and includes feedback from the creator on ways to improve the story and images.
The document contains evaluations from students on various graphic design exercises they completed. It includes feedback on images of a duck, tennis player Roger Federer, a city skyline, text with patterns, boxing gloves, actress Angelina Jolie, and a Cinderella illustration. Students provided what they liked about their images and how they could be improved. The feedback showed an understanding of techniques like rotoscoping, highlights and shadows, and using different tools to enhance images.
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.
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 details from a student's digital graphic narrative development tasks. It includes evaluations of images the student created, including an elephant, panda, and text. For most images, the student likes the overall structure and outlines but notes improvements that could be made, such as adding more details or changing colors. The student also provides feedback on idea generation and storyboarding tasks for a comic book proposal.
The document contains evaluations of images and ideas for a digital graphic narrative project. In the first evaluation, the author likes the outline and shaping of an elephant head and trunk in an image. They would improve it by choosing a simpler animal or a different elephant pose. The second evaluation is of an improved elephant image with added texture and ear detailing. The author likes the blurring effects but would improve the leg shaping. Further evaluations discuss images of a panda, different emotions in photographs, and a flower illustration. Ideas considered for a book include different fonts, characters, planets, robots, and layout dimensions. The author analyzes elements they like and would potentially incorporate into their graphic narrative project.
This document introduces Dennis Conyers, a multi-instrumentalist, composer, arranger, producer, and tour manager from Brooklyn, NY. Over his 34-year career, he has gained experience travelling the world and working with artists globally, while adapting to various tasks. He aims to attract new clients and collaborate with others to continue exhibiting his talents through music production, songwriting, and arrangement work.
This talk provides scalable and succinct CSS solutions for common design requirements like vertical alignment when a container grows in height as well as pseudo elements. It also shares some sweet CSS tips like using gradients to create lines and border images. The talk is given by Hoa Doan Klein, an application developer at Paypal, and includes a link to a GitHub repository for prototyping the techniques discussed.
Mohammed Tawfik Abd Ellfattah has been informed that his paper titled "The Impact of Super-Resolution Methods on Image Quality" authored by him, has been accepted for publication in Volume 6 Issue 2 of the International Design Journal. The paper was received for peer review on December 9th 2015, accepted for publication on January 29th 2016, and will appear online on April 1st 2016.
This document is a resume for Lori A. Moats, an educator seeking a full-time teaching position. She has over 15 years of experience in both general and special education across multiple grade levels. Her resume highlights her education credentials, which include masters and bachelor's degrees in special education and early childhood education. It also outlines her teaching experience as a long-term substitute, student teacher, and substitute teacher in various school districts. Her resume emphasizes skills like communication, organization, and adapting lessons to meet student needs.
The document discusses research done on album covers for alternative rock music. It finds that alternative rock album covers typically use one bright color and darker colors, and may not always feature the artist looking directly at the camera. The text on these album covers is usually bold and simple with the band's logo. Based on this research, the document describes plans to use a train tracks image at sunset/sunrise for the album cover, along with a bold, simple font. This is intended to convey a "lost" feeling that relates to the theme of the song and band name, called The Lifeline.
This document provides a summary of a report analyzing chassis management at the San Pedro Bay Port Complex. It finds that the recently formed "Pool of Pools" approach, consisting of multiple interoperable chassis pools, should continue as the current operating model. This allows for flexibility to evolve the system over time without disrupting existing agreements or requiring a new third party operator. The report assesses challenges like chassis availability, storage, and maintenance to determine the best path forward for optimizing the regional chassis supply.
This curriculum vitae is for Alfredo Fierro Cota, a 22-year-old mechanical engineer from Chihuahua, Mexico. He has work experience as a professional dance instructor and choreographer since 2007, teaching courses in several countries. Currently, he is interning at CONMED Chihuahua in quality department and holds a mechanical engineering degree from Instituto Tecnológico de Chihuahua. His extracurricular experience includes skills in design software, English proficiency, leadership abilities, and public speaking.
The document discusses the role of the internet and social media in politics. It begins with an introduction and overview of key topics. These include the differences between the web and internet, how the web gives citizens power and is an important political tool. It then covers how politicians widely use social media like Facebook, Twitter and Instagram to reach millions of people quickly and cheaply. Barack Obama is presented as the first social media president who effectively used these platforms for his 2008 and 2012 campaigns. The 2016 US presidential election between Donald Trump and Hillary Clinton saw both candidates actively use social media to campaign online.
This certificate certifies that Koushiki Brata Maity has achieved the ITIL Foundation Certificate in IT Service Management. The certificate is valid from August 31, 2014 and has a registration number of 9980048556751544. The certificate was issued by Peoplecert Group on September 12, 2014 under certificate number GR750121087KM.
The document provides key performance indicators from a press reveal media analysis, including 272 articles, 145k social media mentions generating 93.8 million impressions, and $1.7 million in estimated vehicle order revenue. Coverage spanned trade publications focused on passenger vehicles, motorcycles, parts and accessories as well as internet, software, alternative energy and more. Over 68% of coverage was in North America with additional coverage in Europe and Asia.
Este documento presenta una planificación para una unidad sobre números hasta 100 en matemáticas para primero básico. Incluye tres clases con objetivos de aprendizaje, materiales, actividades y ejercicios. La primera clase enseña a formar números con decenas y unidades hasta 99 usando bloques. La segunda clase cubre componer y descomponer números hasta 99. La tercera clase trata de representar números en forma estándar, desarrollada y con palabras. El documento provee información detallada para que el profesor enseñe estos concept
El documento resume los principales hechos que marcan el inicio de la Edad Media, como la desintegración del Imperio Romano, la pérdida del saber antiguo y el surgimiento del Islam. También describe los temas centrales del pensamiento político-religioso de la época como la autoridad papal, la monarquía teocrática y el gobierno imperial.
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.
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 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 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.
Here is a summary of the peer feedback I received:
- Peers praised the quality of my rotoscoping, particularly for Red Riding Hood and Grandma. They felt these characters were the most successful. I agree with this feedback.
- Feedback noted issues with consistency in character sizes between scenes. Peers pointed out the Mother and Wolf could have been improved. I agree these characters were weaker areas of my work.
- My planning and structure was praised by peers. They felt my proposal set clear intentions and the project was well organized. I agree the planning was a strength.
- Some feedback noted the outdoor scenes like the woods could have been improved with more contrast between sky and trees. I agree more sky
Little Red Riding Hood sets off through the woods with gifts for her grandmother, but encounters the Big Bad Wolf along the way who tricks her and eats her grandmother. However, a woodsman hears Little Red Riding Hood's screams and fights off the wolf, rescuing both her and her grandmother. The story serves as a cautionary tale for children about talking to strangers.
The document describes a student's digital graphic narrative development project where they created various images and evaluations for different assignments including shape tasks, rotoscoping, text-based images, comic book pages, photographs to convey emotions, illustrations, and initial story idea generation and proposals. The student provides feedback on what they liked and would improve for each image and discusses their plans for a graphic novel adaptation of Little Red Riding Hood.
The document provides feedback on a student's proposal for a digital graphic narrative project adapting the story of Little Red Riding Hood. The feedback notes the clear plot description and interesting take on the original story as strengths, while suggesting further explanation is needed for the target age range audience. It also comments that the idea generation contains good planning with annotated images, but could have explored more font and illustration options. The student agrees more audience rationale and font choices would have improved the proposal, but disagrees with suggested changes to the darker story elements or page count.
Here is a revised script for the storyboards that addresses the feedback:
The Three Little Martians
By [Your Name]
Narrator: Once upon a time, there was an old Martian mother with three little Martians. She couldn't afford to keep them on Mars anymore, so she sent them off into space to make their fortunes.
The first little Martian met an asteroid miner with a bundle of space rocks. "Please, sir, may I have these rocks to build a house?" asked the Martian. The miner agreed.
With the rocks, the little Martian built a house on a small planet. Soon after, a bigger alien approached. "Little Martian,
The document contains evaluations from a student on various digital graphic narrative development tasks they completed, including shaping an image, rotoscoping, creating text-based images, making a comic book, photography assignments, an illustration, and initial ideas and storyboards. The student provides what they liked about each task and how they could improve if they did it again.
This document contains evaluations from a student of various digital graphic narrative exercises they completed, including shaping an image, rotoscoping, working with text, creating a comic book page, photography, illustration, and initial ideas generation. For each exercise, the student provides what they liked about the image and what they would improve if doing it again. They note things like making shapes more detailed, adding more detail to rotoscoped images, experimenting more with text warping, increasing levels on a cutout tool, improving poses for emotions, and being more consistent with shading.
This document contains evaluations of different digital graphic narrative assignments, including shape tasks, rotoscoping, text-based images, comic books, photography, illustrations, and initial ideas. For each assignment, the student provides what they liked about the image and what they would improve. They receive feedback on their story proposal, which includes a plot overview, production methods, target audience, and advantages/disadvantages of the file format. The feedback identifies strengths and areas needing further development.
Digital graphics evaluation pro forma - will wheatleyMisterWill123
The document provides a template for evaluating a graphic narrative project. It prompts the user to:
- Provide specific details about their work in writing and with visual examples.
- Find areas to praise, being specific about what is good or what they are proud of.
- Find areas that could be improved and what they would change if doing it again.
- Compare their final product to their original intentions and plans.
- Evaluate how well they constructed their images in terms of visual appearance, texture, and color.
- Discuss how well they used text to anchor their images.
- Assess whether their product is suitable for their intended audience.
- Reflect on the techniques they used, referencing
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.
The proposal provides an overview of a children's book involving two friends following the ringing of a bell through a forest to a seaside cliff. Key details include an 8-9 page A4 landscape format, JPEG export, a June 9th deadline, and a 3-6 year old audience. Production methods will involve rough page layouts in Photoshop to plan illustrations before finalizing each page. Further details on intended Photoshop tools could strengthen the production methods section.
This document contains evaluations from a student named Ethan Andrews of various digital graphic narrative exercises they completed. For a shape task, Ethan liked being able to create an animated picture easily but wanted to try something more complex. For another shape task, Ethan appreciated the increased precision but wanted to try animating an insect or creature. Ethan enjoyed the increased detail possible with rotocoping and wanted to add shading or color differentials. Ethan also provided positive feedback and areas for improvement for additional exercises involving rotocoping, text, comic books, photography, and illustration.
Here are the storyboards for the simplified children's version of "The Boy Who Cried Wolf":
Page 1:
- Panel 1: A boy is sitting in a field watching over a flock of sheep. He looks bored.
- Panel 2: The boy gets an idea and shouts "Wolf! Wolf!" while pointing off into the distance.
Page 2:
- Panel 1: The villagers come running up the hill towards the boy.
- Panel 2: The villagers ask "Where's the wolf?" The boy is laughing.
Page 3:
- Panel 1: The next day, the boy shouts "Wolf!" again while laughing.
- Panel 2: The villagers come running again and ask
This document contains evaluations from a student named Ethan Andrews of various digital graphic narrative exercises they completed. For a shape task, Ethan liked being able to create an animated picture easily but wanted to try something more complex. For another shape task, Ethan appreciated the increased precision but wanted to try depicting an insect or unusual creature. Ethan enjoyed the precision and color range tools used for rotocoping and wanted to depict a more detailed person. Overall, Ethan aimed to improve their skills and try more complex images with each new exercise.
Here is a revised script that incorporates some of the feedback:
There once was a shepherd boy named Peter who was bored as he sat on the hillside watching the village sheep. To amuse himself, he took a great breath and called out in a raspy voice, "Wolf! Wolf! The big bad wolf is after the sheep!"
The villagers came running up the hill, waving their pitchforks and clubs, ready to chase the sneaky wolf away. But when they arrived at the top, they saw no wolf - only Peter laughing at his little trick.
The next day, Peter cried "Wolf!" again just for fun. This time, the villagers were less amused. "Don't bother us with
Similar to Digital graphics evaluation pro forma (20)
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2. Does your final product reflect your
original intentions?
Here we have my story-
board.
This was just a quick
Photoshop of pre-made
images off the internet.
I simply put them
together in the order
that I wanted, to get
the look that I wanted.
This helps massively
because it allows me to
plan how I want my
story to look.
3. Let’s compare page 10.
To the left is what I wanted the page to look like during planning.
To the right is the final piece.
First things first, we can see that the text is in the exact same place (the white box indicates
text).
Obviously the background has changed. This was on purpose, because I didn’t want just a plain gra
land. I only used it during pre-production because I couldn’t find what I wanted, and it was easy.
Then we have the two deer in pretty much the exact same position.
Although the lion isn’t in the same place, I still have a lion in the background roaring.
Lastly, there’s just a few extra details that were added for improvement and aesthetics.
So overall, I would say that my final product
does in fact reflect my original intentions.
4. How well have you constructed your
images?
• I started off by planning what my main characters would look like.
I drew many different versions of cartoon deer with pen and paper, until I
settled on the one that I liked the most.
• I then scanned it into Photoshop and added some final touches. For example: I
went over the pen with black to make the outlines stand out more. I added the
colours to the two deer, and I fixed any errors.
All using the magic wand tool to select certain parts. I also copied and pasted
the head of the deer to experiment with different facial expressions. I did this
by selecting the head using the marquee tool, then CMD+C and CMD+V, then I
painted over the face. This gave me a blank space to draw and experiment with
the faces.
Another thing I added was shadowing. This was again really simple. I just drew
a black oval, placed it underneath the animals, added a Gaussian blur (changing
the opacity if needs be), and created a clipping mask for the ground
underneath the shadow. This creates the effect that the animals are more life-
like, and looks as if they really are standing on 3D ground, instead of the
background looking like it was a 2D painting part of a children’s play.
5. Here’s the flat plan of what I wanted my deer to
look like.
And here’s the final result.
The background that I used was made by the lasso tool. It’s simple really. Just use the lasso
tool to draw whatever you want, fill it with your chosen
colour with the paint bucket, then create a new layer and
repeat.
As I wanted a mountain-y/plain type background, I created
this: (right).
However, in the final piece, I changed the grass from a
preset brush to my own custom grass.
And when I needed to, I moved the background along and
drew some more for a new scene.
6. From here, it was just a simple process to create the rest of the pages.
I used the same process of pen and paper to create new characters, such as the giraffe and
the hidden snail:
(It’s pixelated because of enlargement. The snail is so small in every
page to ensure difficulty.)
Then it was a simple copy-and-paste after creating all my characters.
Everything was added on separate layers just in case I needed to change anything, without
ruining something else.
Even the background has it’s own layers.
7. Here’s the final plan of the lion.
I had planned to feature some cartoon birds,
but they didn’t really fit in.
Here’s some more background features.
The line through the giraffe is where I cut it in
Photoshop to make it thinner.
The snail is the hidden Easter egg, this is before it was
coloured in and hidden.
8. How well have you used text to anchor
your images
• The text I have used uses the herculanum font.
Which looks like this. I think this is a suitable font
because it seems to fit in with the African-like
landscape that my story is set in.
• I set the font size at 30pt so it’s easier for children
to read.
• And I’ve placed the text in the sky (most of the
time) because they’re two contrasting colours
(black and yellow), meaning the text is easier to
see.
9. Is your product suitable for your
audience?
• I wrote in my proposal that: “My main Target Audience is for both
males and females under the age of 12.”
So I’d say my book is more than suitable for that age range.
But despite this, there’s no blood or violence whatsoever.
The closest you could get to any sort of violence is when
Joe hits his head on a rock. Or the idea that the lion is going
to attack the deer in the last page, but you still don’t see it.
• The only thing that I fear is whether children will
understand my book. Because I know that it may be
difficult for some to understand why Joe said “I am a lion…”
after he hit his head. But that’s also why my age range is so
high, because it’s more likely that children up to the age of
12 will understand it better.
10. What do you like/dislike about the
techniques you have used?
• I like my techniques because they’re really simple and really easy to
understand.
• For example, the technique I used to create my background. It may
seem complicated when I explain it. But once you see It in action, you
will understand. And you can create some really good looking final
pieces.
• The only technique I don’t like is when I had to add to my background
for different scenes. This is because in the corner of default
background, there’s a yellow-white gradient overlay. So when I
needed to add to that side of the piece, I needed to recreate that
gradient overlay. But I was un-successful. Meaning I simply had to
paint over it, but it looked like this:
The way I got round it was by
placing Joe over the top. However,
you are still able to see some of it.
11. What do you like/dislike about how
your final product looks?
• Compared to my pre-production planning, I really like the way my final
product looks. I believe I’ve achieved the cartoon aesthetic that I was
aiming for, and I’m proud. However, nothing’s perfect.
• As pointed out before, I had trouble with parts of the background, and I’ve
been unable to fix it. So unfortunately I’ve had to stick with the error.
• Because I had to re-draw Joe and Francis a couple of times, they look
different in some scenes. In one particular scene (page 8), their under
bellies don’t line up with their front fur. This kind of ruins the effect that
they’re real entities.
• I also dislike how the animals don’t look like proper cartoons. Obviously
I’m unable to achieve this effect, but the fact that you can still see some
pixels, and parts of the animals don’t look as professional as they could be,
bothers me.
• I also think that the grass looks a little bit like seaweed.
• Despite all this, I do like the shadowing that I’ve added to every animal. I
think it adds to the 3D effect that I was aiming for in the background.
12. Why did you include the content you
used?
• I haven’t used any pre-made images. Everything that is included in my final product
was drawn/rotoscoped by hand.
But I added some little things in the backgrounds because I think it adds to the
environment. For example: the giraffe. I added that because it seems to suit the
place that my story is set it.
I added the snail Easter egg for some enjoyment. It’s something small and simple
that the kids can enjoy finding while reading the book.
• The small effects that are included (such as the shadowing) really add to the 3D
look that I was going for.
• The colours I chose for the background was simply because I set the story in a
dusty, mountain, plain type place. And I think bright green hills would’ve been out
of place.
With that being said, I did make the deer multiple different colours so it was easier
for the children to understand who’s who. So you’ve got Francis, who’s the green
deer. Joe is the blue one. And all the orange and red deer are just extras.
I also decided to make Joe’s eyes different to Francis’ because they have two
different types of personality. Joe is supposed to be adorable and loveable, hence
the big, white, anime styled eyes with a black outline. Whereas Francis is more the
serious type, hence the more normal looking eyes.
13. What signs, symbols or codes have
your used in your work?
• I don’t think I have used any cultural
competence symbols in my work. The only
thing that could be classed as a symbol, that
I’ve done on purpose, would be the colour
choice for the background.
As stated before, I chose the orangey-brown
colours because I set the location in an almost
African-like landscape.
14. What representations can be found in
your work?
• My book does not feature any men, women, children, ages,
races, social groups or religions. This is because my book is
about a deer who’s convinced he’s a lion.
Although I suppose that because Joe’s eyes are supposed to
show that he’s adorable and loveable, that is a
representation.
• I planned to feature some rotoscoped animals in the book.
The rotoscoped ones were supposed to represent adults,
and the cartoon animals represent babies/children. Which
is partly why Joe thinks he’s a lion. But because it didn’t suit
the books style, I decided against it.
• Another representation could be what I stated before,
about the background. The dusty colours and little grass
represents an African landscape.
15. What style have you employed in your
products?
• My design was influenced by this:
This was just a cartoon that I found on the internet. You
can see where I got my inspiration from.
• Although it wasn’t my main inspiration, I got the
simplicity from the cartoon Adventure Time.
• I chose the simplicity for my characters mainly because
it was quick and easy to draw. But also because children
are used to seeing cartoons and simple things, rather
than detailed animals with lots of different colours. It
made more sense to have a simple, plain coloured
animal.
16. What were the strengths and weaknesses
of the pre-production and planning
• The planning and research helped massively because It gave me an
idea of what I wanted my final product to look like. And during the
production, I was able to flip back and forth to the planning and
remind myself where I want specific things to be.
• I managed my time by creating a time sheet. It had how many
sessions I had to create my book, and what I’d do in each session to
ensure that I got my book completed in time. Despite this, I was
able to finish my book basically within the first week. After that it
was just all improvements.
One of the pages was already finished before I’d started the
production, because it was the test page. I thought it was to a good
enough standard to make the final cut. All I needed to do was touch
it up a bit.
17. Historical and cultural context
• One existing product that is almost similar to my book
is the Adventure Time comics. This is again because of
the simplicity, and the black outlines. I think my book is
similar purely because of the aesthetics.
Although I love it, Adventure Time is ridiculous.
Whereas my book is a little more serious.
• I know that my book is not as good as the adventure
time comics. This is because they have a professional
artist, and I’m just a beginner (sort of). Plus their
storylines and ideas are much more interesting and
intriguing.
18. Peer Feedback
• Summarise peer feedback and discuss
– Responses you agree with
– Responses you disagree with