The document is an evaluation of a graphic narrative adaptation of a folklore. The creator summarizes that they mostly stuck to their original plans and illustrations, with some changes like altering text for clarity and changing the ending. They are pleased with how the images turned out overall but note some areas for improvement like skin tones and including more background details. The creator believes the target audience of young boys is suitable given the themes but may adjust the age range from 1-6 to 4-7. They discuss techniques used like coloring and feel Illustrator could help issues, and they are pleased with the page design but not the pixelated cover image.
The document discusses several book covers and their typography design choices. It analyzes how fonts, images, and layouts fit the themes and genres of each book. Examples include a horror book cover using a messy script font to resemble writing in blood, and a dystopian novel using jagged text holes to match its futuristic setting. The document also presents original cover concepts designed by the author, such as using text to form a doll silhouette for a book about killing children. Typography is explored as a way to visually represent the narratives through symbolic fonts, colors, and compositional elements.
- The document discusses developing a digital graphic narrative retelling the Greek myth of Perseus.
- It proposes a 12-15 page children's book in A5 size featuring images and text on each page telling the story. The images will be in a cartoon style.
- Feedback is provided on the proposal, noting the fonts chosen are suitable for a Greek mythology story but the story may be too complex for children under 10. More detail on character design and production methods is suggested.
The document summarizes the student's graphic narrative project. It discusses the rotoscoping technique used to create illustrations. It also discusses using anchorage, signification, and representations of different groups in the narrative. The student analyzes how their project compares to existing graphic novels in these areas. Feedback focused on adding more words and text to slides to improve the narrative's effectiveness.
The document contains a student's proposal for creating a digital graphic narrative retelling the Greek myth of Perseus. Some key points:
- The storybook will be A5 size, 12-15 pages with an image and text on each page to allow readers to visualize the story.
- Fonts and styles were selected to resemble ancient Greek texts. Two fonts were proposed for chapter headings.
- The story will follow the original myth of Perseus but censor graphic elements for a child audience. Images will have a cartoon-like style.
- Strengths included clear dimensions, export format details, and fonts fitting the Greek theme. Further work was needed on simplifying the complex story, character designs,
The document provides feedback on a graphic narrative project. The creator made some minor changes from their original plan, such as reducing the number of pages from 10 to 9. They also changed the style from non-comic to comic book style after creating a test page. While most elements turned out as planned, the creator feels the wolf character does not match the comic book style of the other characters. Overall, the creator is pleased with the visual style and use of text but feels they could have integrated the text better and made the wolf match the other characters' style.
The document discusses font ideas for a book cover for a horror genre book. It evaluates several fonts for suiting the era the book is set in (approximately 1916), representing elements of the plot such as violence, gore and a dilapidated house, and having a messy, handwritten style befitting of the horror genre. The last few paragraphs discuss designs for the book cover incorporating silhouettes, a doll image and text in a font called "Dirty and classic" that represents elements of the story.
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,
This document summarizes and evaluates a graphic narrative project. It discusses how the final product reflects the original intentions, how images were constructed using techniques like rotoscoping, and how text was used. It evaluates whether the techniques and content were suitable for the target audience of 4-7 year old boys. The document reflects on what aspects worked well and what could be improved, such as giving characters more varied expressions.
The document discusses several book covers and their typography design choices. It analyzes how fonts, images, and layouts fit the themes and genres of each book. Examples include a horror book cover using a messy script font to resemble writing in blood, and a dystopian novel using jagged text holes to match its futuristic setting. The document also presents original cover concepts designed by the author, such as using text to form a doll silhouette for a book about killing children. Typography is explored as a way to visually represent the narratives through symbolic fonts, colors, and compositional elements.
- The document discusses developing a digital graphic narrative retelling the Greek myth of Perseus.
- It proposes a 12-15 page children's book in A5 size featuring images and text on each page telling the story. The images will be in a cartoon style.
- Feedback is provided on the proposal, noting the fonts chosen are suitable for a Greek mythology story but the story may be too complex for children under 10. More detail on character design and production methods is suggested.
The document summarizes the student's graphic narrative project. It discusses the rotoscoping technique used to create illustrations. It also discusses using anchorage, signification, and representations of different groups in the narrative. The student analyzes how their project compares to existing graphic novels in these areas. Feedback focused on adding more words and text to slides to improve the narrative's effectiveness.
The document contains a student's proposal for creating a digital graphic narrative retelling the Greek myth of Perseus. Some key points:
- The storybook will be A5 size, 12-15 pages with an image and text on each page to allow readers to visualize the story.
- Fonts and styles were selected to resemble ancient Greek texts. Two fonts were proposed for chapter headings.
- The story will follow the original myth of Perseus but censor graphic elements for a child audience. Images will have a cartoon-like style.
- Strengths included clear dimensions, export format details, and fonts fitting the Greek theme. Further work was needed on simplifying the complex story, character designs,
The document provides feedback on a graphic narrative project. The creator made some minor changes from their original plan, such as reducing the number of pages from 10 to 9. They also changed the style from non-comic to comic book style after creating a test page. While most elements turned out as planned, the creator feels the wolf character does not match the comic book style of the other characters. Overall, the creator is pleased with the visual style and use of text but feels they could have integrated the text better and made the wolf match the other characters' style.
The document discusses font ideas for a book cover for a horror genre book. It evaluates several fonts for suiting the era the book is set in (approximately 1916), representing elements of the plot such as violence, gore and a dilapidated house, and having a messy, handwritten style befitting of the horror genre. The last few paragraphs discuss designs for the book cover incorporating silhouettes, a doll image and text in a font called "Dirty and classic" that represents elements of the story.
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,
This document summarizes and evaluates a graphic narrative project. It discusses how the final product reflects the original intentions, how images were constructed using techniques like rotoscoping, and how text was used. It evaluates whether the techniques and content were suitable for the target audience of 4-7 year old boys. The document reflects on what aspects worked well and what could be improved, such as giving characters more varied expressions.
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.
The document outlines a student's digital graphic narrative development project which involved creating images using different techniques like shape tasks, rotocoping, adding film quotes, and text effects. It includes evaluations of each image where the student discusses what they liked about the image and how they could improve if doing the project again. The document shows the progression of the student's skills and understanding of digital graphic techniques.
The document provides planning details for a digital graphic narrative project. It includes considerations for costs, available resources, quantity, audience, quality factors, codes of practice, regulation, copyright, ethical issues, and health and safety. A production schedule is outlined in sessions that include creating characters, scenery, and pages for the narrative. Risks such as long periods sitting, trip hazards, spills near electronics, and hazardous substances are identified and prevention methods referenced appropriate legislation.
This document discusses color schemes, fonts, and image styles for a pre-production project. It analyzes 4 color schemes from images related to taxidermy, animals, and horror movies. Dark browns, greys, and blacks are seen as conveying dullness, mystery, and evil. Lighter colors could represent comedy. Fonts are also analyzed for their horror or comedy impressions. Images are considered for their compositional filling of frames and use of negative space to create suspense. Specific colors, fonts, and compositions are identified as potential choices to develop characters and convey intended moods for the project.
Here are a few suggestions for improving the original script:
- Add more descriptive details to set the scene and build suspense. For example, describe the dark forest the pigs live in or the wolf's menacing appearance.
- Flesh out the pig characters more. Give them each unique personalities and ways of speaking to make them more engaging and distinct from each other.
- Consider changing up the traditional plot a bit. For example, have an unexpected event occur that alters the usual sequence of events and outcomes. Keeping readers guessing can make the story more exciting.
- Include more internal thoughts, feelings and reactions from the characters. Getting inside their heads will help readers connect with and care about what happens to them
The original script describes the town of Hamelin which lived contentedly until the rats began multiplying to plague the town, overwhelming it with their numbers in a "black sea" of rats. The citizens of Hamelin were honest folk who lived peacefully in their grey stone houses until the rats disturbed their peace and multiplied out of control, swarming over the entire town.
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.
Charles Addams was a famous cartoonist known for his dark humorous style. He drew over 1,300 cartoons in his lifetime depicting macabre subjects with humor. Addams enjoyed finding humor in things usually seen as horrible. One of his most famous cartoons, "The Downhill Skier," made him noticed for its weird and funny mix of confusion and normality.
Richard Williams was a highly influential animator and voice actor. He worked on many famous films and believed sharing knowledge between animators of different studios was important. Williams held masterclasses where he taught animation fundamentals, believing technology changes but storytelling basics do not.
Dr. Seuss was a renowned children's author and illustrator
This document outlines a student's proposal for creating their own version of Sleeping Beauty as a graphic novel. The student plans to take their own photos using props, costumes and models. They will then edit the photos in Photoshop to achieve a comic book style. Key aspects of the proposal include changing elements of the classic tale, targeting an audience of ages 5 to teens, and using graphic design software to transform photographs into illustrations fitting for a graphic novel format.
This document provides a self-evaluation of a group's project to create a factual fiction news report based on Little Red Riding Hood. It discusses both the process of writing a newspaper article on the topic and creating a video news clip. Some specific challenges mentioned include coming up with an original storyline, gathering actors, and ensuring settings and dialogue seemed realistic. Areas for potential improvement include spending more time on the newspaper title, improving actors' line delivery, choosing better filming locations, and adding more action to engage viewers.
The document provides an analysis of the contents page of a magazine. It notes that the text is in san serif fonts and arranged neatly in boxes with no more than 20 words per section. Images are well-spread and colorful. The main focus is on music content rather than football. Red, white, and black are used as the house colors. The page aims to show there is a wide variety of up-and-coming artists related to rock/indie music without being too text-heavy.
The document discusses the differences between the creator's original plans and intentions for their graphic narrative project and how the final product turned out. Some key differences included choosing to rotoscope both characters and backgrounds instead of just illustrating characters, placing text on the same page as images rather than facing pages, and adapting the original story text to better fit the intended length and audience of the book. The creator felt their images had consistency in style and helped tell the story progression. Text was made suitable for young readers through vocabulary choices and spacing across pages. Overall, the creator believes their final product is suitable for the intended 5-8 year old audience.
Clara is considering making a short animated film for a school project. Her top two ideas are a silent film or animating a twist on a nursery rhyme. She analyzes the advantages and disadvantages of each idea. Ultimately, she decides animating a nursery rhyme with a twist would be best suited for the project as it allows her to focus on animation over storytelling and avoids copyright issues.
The document discusses the evaluation of a graphic narrative project. It addresses whether the final product reflects the original intentions, how well images were constructed, how text was used to anchor images, and whether the product is suitable for the intended audience. The creator provides examples of pages that went according to plan and others that diverged from initial plans. Overall feedback indicates some pages met expectations while others were rushed and could be improved with more time and attention to detail. The story and characters are deemed suitable for the target 3-4 year old audience.
The document summarizes the design process for a cover for the book "To Kill a Mockingbird". The final design features a cutout silhouette of a mockingbird from an original page of the book with red ink splatter inside. Gothic font in red is placed above and below the cutout. The unorthodox design using an actual page draws attention while hinting at themes of loss of innocence and darkness in the story.
The proposal outlines a children's story book project involving a princess named Florine who is locked in a tower by her evil stepmother, the Queen, who wants her own daughter to marry the Prince. The Prince is turned into a blue bird by the Queen but is later transformed back by a good fairy. The proposal provides details on the story plot, character ideas, production methods, target audience and deadline. The idea generation includes well-developed mind maps and mood boards depicting the different characters in the story through historical fashion references. The feedback praised the extensive details and planning demonstrated in both the proposal and idea generation aspects of the project.
Lili brewin digital graphics evaluationLili_Brewin
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about their work, including written and visual examples. It also prompts the reader to identify areas of their project to praise and areas that could be improved, with specific details. The reader is told they can add additional slides as needed and should delete any blank slides before submission.
The document discusses different fonts for use in intertitles in a film trailer. It considers the Gaskin font, noting that it resembles sophisticated handwriting but may not accurately portray a teenager's handwriting. Another font is described as feminine but possibly too young or crowded for the 14-20 year old target audience. A bold font would suit a film title but the creator does not like its capital E. The favorite font imitates teenage handwriting simply without complications for editing or an immature appearance.
- The student created a graphic children's book about Batman and the Joker. They aimed to reflect their original intentions in the final product while making some changes for story flow and audience suitability.
- They constructed images well through multiple revisions, using rotoscoping and color range techniques. Background colors reflected settings and characters' morality.
- Text elaborated on images to tell the story. The product is suitable for its 7-11 year old male audience through stereotypical content and simplified violence. Representations are limited but aim to teach morality.
- The student created a graphic children's book about Batman and the Joker. They aimed to reflect their original intentions in the final product while making some changes for story flow and age-appropriateness.
- They constructed images well through multiple revisions, using rotoscoping and color range techniques. Background colors reflected settings and characters' morality.
- Text elaborated on images to tell the story. The product is suitable for its 9-11 year old male audience through stereotypical content and simplified violence. The student likes the bold images but dislikes crowded text layout.
Heuristic Algorithm for Finding Sensitivity Analysis in Interval Solid Transp...AM Publications
This paper develops a heuristic algorithm for finding the ranges of cost in the interval solid transportation
problem such that optimal basis is invariant. The procedure of the proposed approach is illustrated by numerical
example.
AN EXPERIMENTAL STUDY ON THE PROPERTIES OF CEMENT CONCRETE MADE BY REPLACING ...AM Publications
Natural river sand is expensive due to excessive cost of transportation from natural sources. Also large-scale depletion of these sources creates environmental problems, transportation and other constraints make the availability and use of river sand less attractive, a substitute or replacement product for concrete industry needs to be found. In such a situation the Stone dust can be an economic alternative to the river sand. Stone Dust can be defined as residue, tailing or other non-voluble waste material after the extraction and processing of rocks. Use of Stone dust as a fine aggregate in concrete draws serious attention of researchers and investigators. The use of Silica fume in concrete is desirable because of benefits such as useful disposal of a by-product, increased workability, reduction of cement consumption, increased sulfate resistance, increased resistance to alkali-silica reaction and decreased permeability. However, the use of fly ash leads to a reduction in early strength of concrete. However, the use of stone dust leads to a reduction in the workability of concrete. Therefore, the concurrent use of stone dust and silica fume in concrete will lead to the benefits of using such materials being added and some of the undesirable effects being negated. The decrease in early strength by the addition of silica fume is ameliorated by the addition of stone dust. The decrease in workability by the addition of stone dust is reduced by the addition of fly ash. This dissertation work presents the feasibility of the usage of Stone Dust as hundred percent substitutes for Natural river Sand and silica fume as ten percent substitutes for cement in concrete.
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.
The document outlines a student's digital graphic narrative development project which involved creating images using different techniques like shape tasks, rotocoping, adding film quotes, and text effects. It includes evaluations of each image where the student discusses what they liked about the image and how they could improve if doing the project again. The document shows the progression of the student's skills and understanding of digital graphic techniques.
The document provides planning details for a digital graphic narrative project. It includes considerations for costs, available resources, quantity, audience, quality factors, codes of practice, regulation, copyright, ethical issues, and health and safety. A production schedule is outlined in sessions that include creating characters, scenery, and pages for the narrative. Risks such as long periods sitting, trip hazards, spills near electronics, and hazardous substances are identified and prevention methods referenced appropriate legislation.
This document discusses color schemes, fonts, and image styles for a pre-production project. It analyzes 4 color schemes from images related to taxidermy, animals, and horror movies. Dark browns, greys, and blacks are seen as conveying dullness, mystery, and evil. Lighter colors could represent comedy. Fonts are also analyzed for their horror or comedy impressions. Images are considered for their compositional filling of frames and use of negative space to create suspense. Specific colors, fonts, and compositions are identified as potential choices to develop characters and convey intended moods for the project.
Here are a few suggestions for improving the original script:
- Add more descriptive details to set the scene and build suspense. For example, describe the dark forest the pigs live in or the wolf's menacing appearance.
- Flesh out the pig characters more. Give them each unique personalities and ways of speaking to make them more engaging and distinct from each other.
- Consider changing up the traditional plot a bit. For example, have an unexpected event occur that alters the usual sequence of events and outcomes. Keeping readers guessing can make the story more exciting.
- Include more internal thoughts, feelings and reactions from the characters. Getting inside their heads will help readers connect with and care about what happens to them
The original script describes the town of Hamelin which lived contentedly until the rats began multiplying to plague the town, overwhelming it with their numbers in a "black sea" of rats. The citizens of Hamelin were honest folk who lived peacefully in their grey stone houses until the rats disturbed their peace and multiplied out of control, swarming over the entire town.
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.
Charles Addams was a famous cartoonist known for his dark humorous style. He drew over 1,300 cartoons in his lifetime depicting macabre subjects with humor. Addams enjoyed finding humor in things usually seen as horrible. One of his most famous cartoons, "The Downhill Skier," made him noticed for its weird and funny mix of confusion and normality.
Richard Williams was a highly influential animator and voice actor. He worked on many famous films and believed sharing knowledge between animators of different studios was important. Williams held masterclasses where he taught animation fundamentals, believing technology changes but storytelling basics do not.
Dr. Seuss was a renowned children's author and illustrator
This document outlines a student's proposal for creating their own version of Sleeping Beauty as a graphic novel. The student plans to take their own photos using props, costumes and models. They will then edit the photos in Photoshop to achieve a comic book style. Key aspects of the proposal include changing elements of the classic tale, targeting an audience of ages 5 to teens, and using graphic design software to transform photographs into illustrations fitting for a graphic novel format.
This document provides a self-evaluation of a group's project to create a factual fiction news report based on Little Red Riding Hood. It discusses both the process of writing a newspaper article on the topic and creating a video news clip. Some specific challenges mentioned include coming up with an original storyline, gathering actors, and ensuring settings and dialogue seemed realistic. Areas for potential improvement include spending more time on the newspaper title, improving actors' line delivery, choosing better filming locations, and adding more action to engage viewers.
The document provides an analysis of the contents page of a magazine. It notes that the text is in san serif fonts and arranged neatly in boxes with no more than 20 words per section. Images are well-spread and colorful. The main focus is on music content rather than football. Red, white, and black are used as the house colors. The page aims to show there is a wide variety of up-and-coming artists related to rock/indie music without being too text-heavy.
The document discusses the differences between the creator's original plans and intentions for their graphic narrative project and how the final product turned out. Some key differences included choosing to rotoscope both characters and backgrounds instead of just illustrating characters, placing text on the same page as images rather than facing pages, and adapting the original story text to better fit the intended length and audience of the book. The creator felt their images had consistency in style and helped tell the story progression. Text was made suitable for young readers through vocabulary choices and spacing across pages. Overall, the creator believes their final product is suitable for the intended 5-8 year old audience.
Clara is considering making a short animated film for a school project. Her top two ideas are a silent film or animating a twist on a nursery rhyme. She analyzes the advantages and disadvantages of each idea. Ultimately, she decides animating a nursery rhyme with a twist would be best suited for the project as it allows her to focus on animation over storytelling and avoids copyright issues.
The document discusses the evaluation of a graphic narrative project. It addresses whether the final product reflects the original intentions, how well images were constructed, how text was used to anchor images, and whether the product is suitable for the intended audience. The creator provides examples of pages that went according to plan and others that diverged from initial plans. Overall feedback indicates some pages met expectations while others were rushed and could be improved with more time and attention to detail. The story and characters are deemed suitable for the target 3-4 year old audience.
The document summarizes the design process for a cover for the book "To Kill a Mockingbird". The final design features a cutout silhouette of a mockingbird from an original page of the book with red ink splatter inside. Gothic font in red is placed above and below the cutout. The unorthodox design using an actual page draws attention while hinting at themes of loss of innocence and darkness in the story.
The proposal outlines a children's story book project involving a princess named Florine who is locked in a tower by her evil stepmother, the Queen, who wants her own daughter to marry the Prince. The Prince is turned into a blue bird by the Queen but is later transformed back by a good fairy. The proposal provides details on the story plot, character ideas, production methods, target audience and deadline. The idea generation includes well-developed mind maps and mood boards depicting the different characters in the story through historical fashion references. The feedback praised the extensive details and planning demonstrated in both the proposal and idea generation aspects of the project.
Lili brewin digital graphics evaluationLili_Brewin
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about their work, including written and visual examples. It also prompts the reader to identify areas of their project to praise and areas that could be improved, with specific details. The reader is told they can add additional slides as needed and should delete any blank slides before submission.
The document discusses different fonts for use in intertitles in a film trailer. It considers the Gaskin font, noting that it resembles sophisticated handwriting but may not accurately portray a teenager's handwriting. Another font is described as feminine but possibly too young or crowded for the 14-20 year old target audience. A bold font would suit a film title but the creator does not like its capital E. The favorite font imitates teenage handwriting simply without complications for editing or an immature appearance.
- The student created a graphic children's book about Batman and the Joker. They aimed to reflect their original intentions in the final product while making some changes for story flow and audience suitability.
- They constructed images well through multiple revisions, using rotoscoping and color range techniques. Background colors reflected settings and characters' morality.
- Text elaborated on images to tell the story. The product is suitable for its 7-11 year old male audience through stereotypical content and simplified violence. Representations are limited but aim to teach morality.
- The student created a graphic children's book about Batman and the Joker. They aimed to reflect their original intentions in the final product while making some changes for story flow and age-appropriateness.
- They constructed images well through multiple revisions, using rotoscoping and color range techniques. Background colors reflected settings and characters' morality.
- Text elaborated on images to tell the story. The product is suitable for its 9-11 year old male audience through stereotypical content and simplified violence. The student likes the bold images but dislikes crowded text layout.
Heuristic Algorithm for Finding Sensitivity Analysis in Interval Solid Transp...AM Publications
This paper develops a heuristic algorithm for finding the ranges of cost in the interval solid transportation
problem such that optimal basis is invariant. The procedure of the proposed approach is illustrated by numerical
example.
AN EXPERIMENTAL STUDY ON THE PROPERTIES OF CEMENT CONCRETE MADE BY REPLACING ...AM Publications
Natural river sand is expensive due to excessive cost of transportation from natural sources. Also large-scale depletion of these sources creates environmental problems, transportation and other constraints make the availability and use of river sand less attractive, a substitute or replacement product for concrete industry needs to be found. In such a situation the Stone dust can be an economic alternative to the river sand. Stone Dust can be defined as residue, tailing or other non-voluble waste material after the extraction and processing of rocks. Use of Stone dust as a fine aggregate in concrete draws serious attention of researchers and investigators. The use of Silica fume in concrete is desirable because of benefits such as useful disposal of a by-product, increased workability, reduction of cement consumption, increased sulfate resistance, increased resistance to alkali-silica reaction and decreased permeability. However, the use of fly ash leads to a reduction in early strength of concrete. However, the use of stone dust leads to a reduction in the workability of concrete. Therefore, the concurrent use of stone dust and silica fume in concrete will lead to the benefits of using such materials being added and some of the undesirable effects being negated. The decrease in early strength by the addition of silica fume is ameliorated by the addition of stone dust. The decrease in workability by the addition of stone dust is reduced by the addition of fly ash. This dissertation work presents the feasibility of the usage of Stone Dust as hundred percent substitutes for Natural river Sand and silica fume as ten percent substitutes for cement in concrete.
This document outlines a proposed platform called WeIF that would allow users to publish instant needs, have others nearby bid to fulfill those needs, and facilitate transactions and communication between users. The key features would include publishing needs, bidding to fulfill needs, payments, communication between users, and analytics to understand user behavior and needs. It proposes using WeChat integration and payments to build the platform and target students and white collar workers in major Chinese cities initially.
On-line IDACS for Embedded Real Time ApplicationAM Publications
This document presents the design and development of an online Interactive Data Acquisition and Control System (IDACS) using an ARM-based embedded web server. The system uses an ARM9 processor running a Real-Time Linux operating system to handle data acquisition and control functions as well as hosting an embedded web server. Sensors are interfaced to the ARM9 to measure parameters like temperature, humidity, gas levels etc. The embedded web server allows clients to access the sensor data and send control instructions through a web browser interface. The system aims to provide a low-cost, low-power solution for real-time data acquisition and control in industrial applications.
To Brand Company as a Leader in the Industry through brand recognition, logo identification, search engine results, product design and packaging and web 2.0.
The two magazine contents pages both use iconic rap artists as their main images to identify the genre as rap. Both use dark backgrounds with bold red and white text for sections. HHR uses a smiling image of MASSI in nice clothes to appeal to younger readers, portraying rap success positively. The Source uses a close-up of Ice-T with a menacing look, creating a serious, hard feel reflecting rap's danger themes but also appealing due to his fame. Overall, both aim to attract readers through recognizable artists but portray rap culture somewhat differently.
COLLOBORATIVE APPROACH for SECURING DATA RETRIEVAL SCHEME BASED On TRIPPLE DE...AM Publications
Disruption tolerant network technologies are becoming successful solutions that allow wireless devices carried by soldiers to communicate with each other and access the confidential information or command reliably by exploiting external storage nodes. Some of the most challenging issues in this scenario are the enforcement of authorization policies and the policies update for secure data retrieval. Ciphertext policy attribute-based encryption is a promising cryptographic solution to the access control issues. However, the problem of applying CP-ABE in decentralized DTNs introduces several security and privacy challenges with regard to the attribute revocation, key escrow, and coordination of attributes issued from different authorities. We propose a secure data retrieval scheme using 3DES with MD5 for decentralized DTNs where multiple key authorities manage their attributes independently. We demonstrate how to apply the proposed mechanism to securely and efficiently manage the confidential data distributed in the Disruption-tolerant military network.
1) Sandwich beams made of GFRP core and aluminum face sheets were impacted by a rigid projectile at velocities from 25-115 m/s using a pneumatic gun.
2) The sandwich beams exhibited different failure modes including large inelastic deformation, core shearing, and delamination.
3) Mid-span deflection, energy absorption, and velocity drop after impact were measured and found to vary with impact velocity, with the beams absorbing more energy at lower velocities. The ballistic limit was approximately 50 m/s.
Vivek Kumar Pathak has over 8 years of experience in learning and development, sales, and business development. He currently works for Centum Learning Limited, where he is responsible for behavioral, sales, and service training for Airtel retailers. Previously he has held roles at GE-SBI Cards, Magic Holidays, and Saffron BPO, where he developed and delivered training programs, managed teams, and achieved sales targets. He has an MBA in marketing and skills in training, communication, problem solving, and budget management.
The document provides an evaluation of several digital graphic narrative assignments completed by the student. For each assignment, the student summarizes what they liked about their work and how they could improve. The assignments included creating images using basic shapes, rotoscoping, incorporating film quotes, experimenting with text effects, applying a comic book filter, telling a photo story, an illustration, and developing a narrative environment. The student provided thoughtful critiques on how they could strengthen visual elements, styles, details, and overall cohesion for each piece.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide both written and visual examples from the project, praise strong areas, and identify areas for improvement. It suggests adding slides as needed and deleting any blank slides before submission. The reader is then prompted to evaluate how well their final product achieved their original intentions, how they constructed images, used text, and whether the work is suitable for their intended audience. They also reflect on what techniques they liked and disliked using.
The document provides a template for evaluating a graphic narrative project. It prompts the creator to provide written and visual examples from their work, praise strong elements, and identify areas for improvement. The creator is also asked to reflect on how well their final product achieved their original intentions and was suitable for their intended audience.
The document summarizes the planning and production process for a graphic narrative book for children. Key points include:
- Flat plans were used as templates to layout scenes before adding details. Text placement was also planned.
- Characters were created using rotoscoping photos to make them simple shapes that are still recognizable. Backgrounds used gradients and textures.
- Text is placed clearly to be readable by young audiences. Speech bubbles identify the speaking character.
- The style aims to appeal to both children and adults interested in cars through simple, realistic graphics without being overly cartoon-like.
- Future improvements would fill empty white space and complete more pages to meet deadlines.
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 details on the development of a digital graphic narrative project. It includes evaluations of images created using shape tasks, rotoscoping, adding narrative environments, working with text, comic book styles, a photo story, and illustrations. Feedback is provided on what was liked about each image and opportunities for improvement. Proposals are made for an original children's story involving characters such as a badger and farmer, including character sketches, mood boards, page layout ideas, and production methods. The deadline for the project is January 15, 2016 and it will be aimed at ages 6-8.
Here is a summary of the peer feedback I received and my thoughts on it:
- Peers said the images were simple and clear which would appeal to children, which I agree with. This was my goal.
- Some felt the story could have been expanded on more. I disagree as I wanted to keep it concise for children.
- Feedback noted the rhyming text would engage children, which I'm glad about as this was an intention.
- It was pointed out some slides could have more detail, which I agree with as I ran short on time.
- Peers felt the characters were well represented through visuals and text, which I'm pleased about.
- One peer said the
The document provides details for a digital graphic narrative adaptation of the story of Rumpelstiltskin. It includes a proposal for an 11-page graphic novel with story details, character descriptions, and sketches. The story would follow a miller's daughter named Elizabeth who is locked in a dungeon by the greedy king and promised her first born child to a strange man named Rumpelstiltskin in exchange for him spinning straw into gold. In the end, the prince discovers Rumpelstiltskin's name to save Elizabeth's baby from his promise. The document discusses the plot, settings, characters, and provides sketches for reference in creating the graphic adaptation of the story.
This document summarizes the production process and techniques used to create images and text for a story called "Kate Crackernuts". Key points:
- Images were drawn, scanned, and edited in Photoshop using tools like the polygonal lasso for outlines.
- Patterns and textures were used to create a collage effect rather than solid colors.
- Tea stained paper was used for text boxes to look old without being distracting.
- Colors, shapes, and layout were manipulated throughout to represent the surreal elements and progression of the story.
- The story represents women in a brave light compared to older fairy tales with more stereotypical gender roles.
- The story is a retelling of Rumpelstiltskin. A miller's daughter, Elizabeth, is placed in the dungeon by the greedy king after her father lies that she can spin straw into gold.
- A strange man appears and offers to spin the straw into gold in exchange for Elizabeth's mother's necklace. He does the same again when more straw is brought, asking for Elizabeth's firstborn child in payment.
- Elizabeth marries the prince and has a child. The man returns to claim the baby. Elizabeth is given a week to discover his name or he will take the child. The prince discovers his name is Rumpelstiltskin by overhearing him
- The summary describes a retelling of the story of Rumpelstiltskin. It involves a miller's daughter, Elizabeth, who is locked in a dungeon by the greedy king and told to spin straw into gold. A strange man appears and agrees to help in exchange for her necklace and later her firstborn child. Elizabeth marries the prince but the man returns to claim the child. Elizabeth is given a week to discover his name, which the prince eventually learns by following the man to his camp.
The document outlines a proposal for a graphic narrative adaptation of the story of Rumpelstiltskin. It includes an 11-page story overview with key details: the miller's daughter Elizabeth is locked in a dungeon by the greedy king and promised her first born child in exchange for help turning straw to gold from the strange man Rumpelstiltskin. In the ending, Elizabeth and the prince have a baby but Rumpelstiltskin returns to claim the child; Elizabeth must discover his name to save her baby. Character designs and settings like the castle, forest and Rumpelstiltskin's camp are presented to bring the adaptation to life visually.
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 provides a template for evaluating a graphic narrative project. It includes prompts to praise strengths and identify areas for improvement in the work. The prompts cover whether the final product achieved the original intentions, the construction of images, use of text, suitability for the target audience, techniques used, and appearance of the final product. Responses to the prompts provide specific details and examples from the project, which appears to be a children's book about a race car named Lauda.
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 guidance for evaluating a graphic narrative project. It prompts the creator to praise strong elements of their work and identify areas for improvement. It also includes questions to help reflect on how well the intentions, images, use of text, and suitability for the intended audience were achieved. The creator provides detailed responses evaluating their adaptation of the Rumpelstiltskin story in a children's book format. They discuss changes made from planning to the final product and how well different aspects were executed.
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.
This document provides guidance for evaluating a graphic narrative project. The evaluation template instructs the user to provide specific details about their work, including written and visual examples. It prompts the user to identify areas of their project to praise, being specific about why parts are good or what they are proud of. It also prompts the user to find areas for improvement and specify what could be better if revisited. Additional slides may be added as needed, and blank slides should be deleted before submission.
The document discusses the evaluation of a graphic narrative project. The author reflects on how well their final product reflected the original intentions and planning. Storyboards helped visualize ideas and compare layouts. Locations and elements were repeated to create familiarity for the target age group of 5-8 year olds. Images were constructed well by sticking to the plan and adding details like shadows and gradients. Text was well anchored to images through labeling characters and showing what was described. The one area for improvement was better showing a marriage mentioned in text. Overall, the product is suitable for its 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 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. Though the overall style was suitable, some character illustrations lacked consistency in quality. The content stayed close to the original fairy tale's storyline and time period for historical accuracy.
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2. Does your final product reflect your
original intentions?
I think that I managed to stick quite closely to my original plans for adapting the Folklore. I created the flat
plans to judge the framing and proportions for the final designs, and almost all of the final illustrations follow
the original flat plats to the fullest extent with the exception of illustration 4, where the only main difference is
the position the Worm is in when crawling out of the well, but this was only because I wasn’t satisfied with
how the original flat-plan looked. The script for the most part stayed the same, but the script I wrote out did
undergo several re-writes. But even then, it was only because I had to alter the text in particular areas, such as
grammatical errors like inconsistencies with the Worm’s name being spelt with capital letters, odd sentence
structures that needed to be fixed such as changing “It was Sunday Morning, as the people of Lambton went to
church” to “It was Sunday Morning, and as the people of Lambton went to church”. And finally fixing a few
spelling issues, such as when I accidently spelled the town Lambert instead of Lambton (which was a common
mistake I would repeat until realizing it). I would say that the biggest change I made in my final product from
my planning was the ending. Originally, it was intended that the king would die from a poisoned bite after
fighting the worm, and the illustration would be his gravestone in a dark graveyard. I changed this because of a
few reasons. The first reason being that I wouldn't’ have had enough time to finish up another illustration and
page, since page eight was only completed on the last day before the deadline for this story ended, and I knew
that it would be almost impossible to complete one last page without it being incredibly rushed. And secondly,
I figured that ending the story on page eight with the king looking out into the horizon felt much more like a
closed narrative for my story, as it is a recognisable cliché that has been imitated over and over again like many
other stories that end in a similar fashion like in the ending to The last crusades, and parodied like in, and Three
Amigo’s. This ending seems like the most likely ending to satisfy the young viewers more than the much more
darker and unconventional ending.
3.
4. How well have you constructed your
images?
I am overall quite impressed with how my final images came out, since they are clearly reflective of the original
flat plans, and feature enough detail and colour tones to seem three dimensional and some-what professional.
I think that maybe if I had more time and with an extended deadline, I could still greatly improve upon these
illustrations, or certain ones in particular like with illustration 8. Originally, I planned to have the king look over
the landscape, which was meant to feature a stone castle and a small village below it, symbolizing the king
looking over his now safe land. But due to issues with time, I figured I couldn’t afford to finish it that way due
to the amount of detail I will need to include in the pencil sketches. So instead, I decided to place a hillside
landscape in its place to save time. For the basic outline of the illustrations, I first drew them all out onto paper
using pencil, before scanning them into a computer. I did this because I have had a fair amount of experience
with sketching, and thus came to the conclusion that this method would be much easier and less time
consuming for me to work with since I almost always knew what I was doing. However, I still managed to make
a few mistakes in these illustrations, such as some perspective issues when it came to full-body shots of the
king in armour like in illustration 6, as you can clearly see that his legs appear to be at an odd angle compared
to the rest of his body. I feel that these faults are a little bit distracting, but not entirely noticeable, and with
some practice, I think I could improve on these areas in the future. As for adding colour to the images using
Photoshop, this was the aspect I was least experienced with when creating these illustrations, but in terms of
how they ended up looking in the final product, I think that turned out ok. I was particularly impressed with
some of the tones I was able to apply, especially in the first illustration where reflections in the ripples can by
seen clearly, and the colour scheme appeared very bright and colourful like you’d expect to see in a children's
book, all of which surprising me as I first thought that I wasn’t going to be able to create more than a few flat
tones due to my lack of experience with colouring. If I need to improve anything in terms of colour, It would
have to be the way I colour in night time scenes. I wanted to make the night time illustrations have a dark and
gloomy vibe to them, but instead, I still gave them the colourful effect, making the scenes seem like they’re
illuminating and glowing like illustration 5. I could also work on skin tones too, since the colour of the heir of
Lambton's skin in every page he’s in appears too washed down, pale, and looks quite unpleasant. I will have to
keep working on colouring skin tones to get the more warmer looking skin tone that I was looking for for him.
5.
6. How well have you used text to anchor
your images
Well, first I focused on writing the script for the story first before even starting to work on the images, then
after I finished the script, I wrote down the layout of the illustrations, writing about the framing, the
composition of everything in the image and the features that I have planned for the illustrations to contain
such as props, intended lighting and character gestures. After I was satisfied with everything I had written
down, I worked on the flat plans just to see if my ideas could be translated into real images as easily as I hoped.
Then finally I would begin to work on my illustrations. All of the extended planning I have just listed above was
included just so I could properly make sure the illustrations I produced anchored the text. And I think it all
worked for the better in all honesty. Because there is a fair amount that I had to compress of the original
folklore into a few sentences on nine to sixteen pages, I had to make the sentences cover as much information
as possible, while still being phrased as basic enough for children to understand properly, making some pages
quite difficult to translate to illustrations, such as page six that only describes what the king is about to do,
rather than where he is and how he feels. So I decided to draw him with his hands in his face to show his
shame for himself for knowing this was his fault, sitting in his throne to show the power he has, the dark
shadows around him to metaphorically demonstrate how isolated he feels thinking he’s the only one
responsible. And the light shining through the glass window to symbolise the hope that he might have the
ability to stop the Worm, and finally, I drew in his sword and armour to show that he is about to fight the
worm. Every single image I feel was reflective of what was being described in the text, whether they would be
rather quiet images showing a simple scene like the Heir looking at the worm up close, or quite busy, showing
an action like the King battling against the worm. Next time, I might need to take into consideration my
capability of how much detail I will be able to include into each of these illustrations, all within a particular
deadline. For example, when writing about how illustration five is to look, I wrote down “In this wide-shot, two
skulls (a human and a cow skull) are placed in the foreground, while in the background there is the worm
silhouetted on-top of a hill, screeching up to the moon. In the much further distance, a few small houses of a
village are seen with lights on and the castle looming over the houses”. In the end, I didn’t include these houses
and the castle in the background, because just like illustration eight, I was too concerned about the amount of
time I had remaining to include them in the final illustration.
7.
8. Is your product suitable for your
audience?
In my original proposal, I mentioned how my book was to be targeting “boys or the male gender in general”
and that the targeted age would be between age 1-6. For the most part. I think that for the most part, my
product is still viable to be sold to this demographic as the primary audience. Like I mentioned in the proposal,
it will most likely attract young boys because of the medieval setting and and tropes such as the hero in armour
off to slay a monster, who just happens to be the king of the land. All of these themes are seen as quite
masculine for kids at an early age, not to mention our protagonist is also male, allowing male boys to possibly
connect and identify with him and the story while at a young age. Not to mention that although there are no
specific violence shown in any detail throughout the book, it is heavily implied however that there is violence
on-going throughout the story as evidence from the skulls in the illustrations, and in page seven when the king
fights the Worm, and only for the next page to show the Worms tail hanging from the well, implying that the
King had killed the worm himself with his sword just through the visuals alone. This hint of violence in the story
could help bring in more attention from the male demographic than the female demographic. I personally think
that the only way I haven’t fully stayed true to the original proposal is the children's age range. I originally said
that my book will target children aged 1-6. But now because of the further research into other existing
children's books and finding out that many of the books I looked into had an age range between 4-7. I may
possibly adjust the age range for my children's book to this as even though these books are targeted for
children, they will be bought out by adults who will determine if they should buy the book for their child to
read to them, and I have doubts that a parent would buy this book for their one year old who can hardly speak
yet, and is sensitive to any frightening images, but a parent could possibly buy this for a four year old child
learning to speak, or older as they learn to read, who can handle some mildly scary scenes fairly well. After all,
it’s not as if this folklore hasn’t been adapted to a children's book before, as it has done many times, such as
the book created by Jorge Lulic, which is clearly targeted to an audience much younger than mine. But my book
stays a bit closer to the darker and grittier story, without becoming unsuitable for children by any extent. This
mix of sticking to the source material, while suitably telling the story to kids will hopefully generate a lot of
sales for people living in Lambton who want to educate their kids on the Folklore.
9.
10. What do you like/dislike about the
techniques you have used?
When it come to the digital aspects of my illustrations, I used Adobe Photoshop to colourise my images using
the simple paintbrush/airbrush tool, eraser tool and the levels adjustment tab for lowering the outlines of my
scanned image to a much darker black colour than the faded grey it originally was, as well as hiding away the
paper texture and creases that were present on the scan. Although I did consider using Adobe Illustrator. But in
the end, I decided not to go along with using it because I had no prior experience with the program, and still as
of right now have no idea how to properly use it. One of the main things I liked out of all the techniques I used
was use of using airbrush tool with a low opacity (usually between 8-29%) and using either white or black to go
over certain patches of colour that seem pretty flat, and very lightly going over them to either brighten or
darken the colours, depending on what is necessary. This technique really made the illustrations seem all the
more three dimensional and eye catching, and was able to create some really great shadow effects and
highlights using this technique, and was. However, I found that this technique was only successful when
creating bright and luminous colour schemes. I couldn’t apply this to creating a dark and grim tone however, as
evidenced with what I tried to do with illustration 5. So the other technique I used for tones was by choosing
one flat colour, and also find a lighter version and darker version of that colour, and applying the two alternate
tones when needed. This technique allows for much harsher shades on certain surfaces, but can make certain
subjects appear all the more striking, such as on the Kings spiked armour, or the stone bricks that the well is
made up of. This is a technique of using just three tones is used by many artists working on high end projects
such as in animation, where characters in some shows will have a very minimal amount of different tones
depending on the lighting and character positioning, most noticeable in hair. The issue with this technique
however comes from knowing what the correct tones to use are. Sometimes you will use a light tone that is too
bright, or a dark tone that is to dark, that doesn’t blend well and sticks out a little too much from the rest of
the colours. You can see this slightly when looking at illustration 7 on the Kings sword where the dark tones at
the centre of the blade doesn’t seem to mix in together. This can be especially problematic for large subjects
like the sky, when this issue can become especially distracting. And unpleasant to view. I feel that if I got use to
using Adobe Illustrator, I could use the more advanced paintbrush tools it exclusively features to bypass some
of these problems in the future, or I could learn to improve on toning to bypass these problems too.
11.
12. What do you like/dislike about how
your final product looks?
The main thing I am pleased about with the final design of my book is the page design itself. I
think that the choice I made early on to layout the text and illustrations separately from each
other like what I had seen in some of the real children’s books I looked at for research such as
Hairy Maclary and ‘The Selfish Giant’, as it’s both simplistic, and very conventional for guiding the
readers attention from left to right as they read the text first, and then see the image to put it
into context with the text. I also particularly like the old stained paper texture given to the page
provided with text, as it fits the theme of the story taking place around the medieval era, and
being a folklore story that has been passed on from generations, so the aesthetic seems quite
fitting. The main issue I do have with the way the product looks however, is with the appearance
of the paper-back book cover. Since I wanted to include the cover, but was running low on time
before the deadline, and didn’t want to risk having to draw a new piece for the front cover. So
instead I took the asset of the Worm on Illustration 4, enlarged it, flipped it horizontally and
placed a dark evening landscape in the background. The issue however, is that the asset wasn’t
the correct resolution to scale up properly, so the final cover looks very pixelated and suffers a lot
of loss when scaling up, almost looking like a bootleg print copy of the book rather than a real
copy that has been correctly printed. I should’ve either found the time during production to start
creating an original cover, or I could’ve done the same technique, but instead fix the resolution
before exporting it over and re-scaling it. Or by smoothening out and polishing the low-rendered
image using either the Photoshop filters, blending modes, or by going over it with the brush tool.
13. Why did you include the content you
used?
Through researching and looking up several real children's books that are being sold on the market at the
moment such as ‘Hairy Maclary’s Caterwaul Caper’ and Where the wild things are’ I ended up finding that
almost every single children's book was published using Serif font as appose to San-Serif. This is most likely due
to the fact that Serif fonts are much easier to read than san-serif, possibly due to the serifs adding a making the
letters seem much broader and brings their eyes to follow each word much more easily, which is of course very
important for children that are learning to read. Whatever the reason, almost every single book uses this font,
so I figured that I would also use this font to keep traditional to other mainstream children’s books. At first, I
had initially was going to have a plain white backdrop on the text pages, but during the development of each of
the pages, I cam to find that this type of design was quite boring, and began to stand out as more of a
distraction compared to the illustration pages next to it with a vast variety of colour to them. So that is why I
chose to include the stained paper aesthetic to the text page, as it fit the theme of the story in terms of
historical context, since it’s a tale set during the 10,000-11,000 centuries. The bright and colourful colour
scheme was included to go along with the story to appeal to young children and other readers on a visual
aspect, since some of the themes in the story become quite dark and grizzly, even after trimming the original
story down to hide some of the more gruesome and depressing plot points like the sacrifice of the dogs.
Hopefully using a much brighter colour scheme could tone down some of the darker scenes to make them
more appropriate for younger audiences. I decided to use a few more toned down, gloomier tones in pages 4
and 6, because in page 4, I wanted the worms first appearance to at least come off as menacing to the young
viewer to showcase how the Worm has now truly become the villain of the story now that it has grown to its
full size. This is done with many existing fictional villains such as in Disney movies with the entrance of villains
like Ursula in the Little mermaid and Maleficent in the Sleeping Beauty when the colours are made gloomier
and darker in their presence. As for page 6, this is the moment when our protagonist comes to the conclusion
that the worm is his problem and his mind has reformed to make him ashamed of not getting rid of the
creature while he had the chance, and decide to go at and kill it before the conclusion of the story. The darker
tones are a reflection of the shift in the character, as he becomes much more serious and determined to fix his
problem, and how the darker colour scheme is also a shift from the more brighter illustrations in the story.
14.
15. What signs, symbols or codes have your used in your work?
In my opinion, there are two Illustrations that feature a lot of clear symbols, with that being illustration 5 and 6. The
original story mentions how the Worm would awaken every night to hunt down and eat cattle and people, and then
taking them up to a hill that becomes referred to as “Worm Hill” to rest after hunting. Because in the children's book it
would seem inappropriate to mention or showcase in detail people being devoured by the worm, and didn’t have
enough space in the limited amount of lines I had for each space to mention Worm Hill, I instead drew a cow and human
skull in the foreground of illustration 5, to symbolise that the Worm has definitely been killing cows and people, as skulls
are commonly associated with death, with some of the most famous examples being the skull and cross bones to
symbolise a life-threatening danger, such as toxic chemicals and on pirate flags to spread fear. And not to mention the
physical representation of death, the grim reaper, is also a cloaked figure with a skull for his face. I also showed in the
background the worm onto of a large hill that can be associated with worm hill, and the entire background as well as the
worm are silhouetted in shadows to give off the since of anonymity and fear the Worm has among the people of
Lambton. In illustration 6, I wanted to show that the Heir of Lambton had now gained a lot more responsibility as he’s
aged. I drew him sitting on his throne, which has a very elaborate and sharp design to it with spikes and curves all around
the chair, not looking too comfortable, I tried to make this a reflection of how uncomfortable our protagonist is feeling at
the very moment. The idea of using chairs as symbols is actually a more common practice than you think, one example
could be to reflect the characters such as in Up, where carl is shown sat in a blocky chair that reflects his square head,
and Ellie has a much rounder chair, reflective of her round head. The king also has his palm placed over his eyes, a
gesture that is often most associated with shame or embarrassment, with the most famous example of this being
Captain Piccard in Star Trek: The Next generation. In my story, it’s obvious that he’s clearly feeling ashamed of what his
actions have now caused. In the story, I mention how the King decides to go out and fight the worm, so I drew the king
wearing a suit of armour and holding a sword to show he’s ready for combat, and may also have had experience with
combat. As for the colours and location of the scene, he is sat in what looks like a large, but empty hallway that
encompasses more toned down and gloomy colours compared to many of the previous illustrations, not to mention the
dark shadows around the illustration that seem to act as a frame for the King. We can infer form the illustration that the
character is feeling isolated from the dark shadows sealing him in the picture, as he feels this since he knows he’s the
only one to blame for the Worm and is singled out because of it. The vast and empty room could reflect how lonely he
feels, having nobody to turn to as everyone else fears the Worm, and dares not to confront it. And the dark and gloomy
colour scheme could be compared to the Kings gloomy emotions of having the guilt of many dead people on top of him.
But if you look closely into the image, you can see a stained glass window above him with light shining down upon the
king, reflecting colours around the centre of the image. It is often believed that god Created the Sun and Moon to shine
good over evil, and since the worm is reminiscent of a dragon, which a symbolic of the devil, and thus evil, this could
foreshadow that the King is that light that shall conquer evil, and that He will be the one who will inevitably kill the
worm.
16.
17. What representations can be found in
your work?
There are really only two characters seen or mentioned through-out the entire story, the Heir/King of Lambton and the
Worm. However, it is mentioned that there are over people present in the story living in the land of Lambton, but are
never referred to more than “The People of Lambton”, and in one of the illustrations, a human skull is shown, but is
really nothing more than a prop to show how the worm is killing people in Lambton. In the original story however, there
are more characters that appear, such as a mysterious old man who shows up after the Heir catches the worm in a pond
to warn him about the creature, and a wise woman that the Heir confronts to learn how to kill the worm, and she is also
the one who gives him the spiked armour, and the heir of Lambton’s father is present in the story, referred to as “The
king of Lambton” while the heir is later on named “the Childe of Lambton instead. There were also many religious
aspects to the original story too. In the original story, the Heir tells the mysterious man “I think I’ve caught the devil”.
Not to mention that during the story, the heir of Lambton is absent between the years as the Worm grows to a large size
because he goes to join the crusades, and the Heir is cursed towards the end which ends up killing his family for another
few generations to come. As you can imagine, I had to trim down a lot of the original story just so I could fit it all onto
about 8-16 pages, and also to make it more suitable for young children, as including some graphic imagery when killing
the worm, and the slaughtering of dogs to break curses could be controversial to include in a children's story. I also
removed most of the religious themes from the story (with the exception of the church on the first page), because I
found that I could still tell the brief story without them, and it could also possibly make the story appeal to a wider
audience who may be put off by the many Christian themes through-out the story, whether they’d be of a different
religion or no religion. In the end, I limited the story to only two characters by either removing characters from the
story, or merging characters together, like how I had the Heir of Lambton replace his father as the King of Lambton, and
personally I think this works better than the original story, as it makes the story seem much more intimate like the issue
with the worm weighs entirely on our protagonist. As for my portrayal of the character in the story, I have showcased
that the character as a boy is quite laid back, care free and possibly a bit self centred, hence that doesn’t go to church
like everyone else, as he doesn’t see it as his priority. And while he’s much older, he feels much more resentful, now
possibly as he has grown to become much more wiser, and feels guilty for his foolish actions as a child. In some ways, I
think that these portrayals a quite relatable and accurate, hence that we don’t really care about anything other than
what benefits us a a child, and as we grow older, we do look back on things we wish we had never done.
18. What style have you employed in your
products?
In terms of influences for my story, I should probably start with how I came up with the designs of my characters. For
The young Heir of Lambton, his design is loosely based on the appearance of the identical twins Dylan and Cole
Spouse from the show ‘Suite life of Zack and Cody’. I figured that they would act as a good source of inspiration for
this character, since at the time they were commonly well-known child stars, as they were always the primary focus of
the show, and were portrayed as quite care free characters, and have the features often associated with young boys
such as moderately long hair, wide eyes and round heads. Much similar to the heir of Lambton, who is presumably
well known in his land since his ancestors own it, is quite a relaxed and care-free boy, and is of a young age when he
first catches the worm, so I gave him the same facial features of young Dylan and Cole Spouse, with fair-blonde hair,
wide blue eyes eyes and quite rounded heads. As for the older version of our Protagonist when he becomes the King
of Lambton, I decided to make the character seem like he’s matured heavily over the years to take on a more mighty
and powerful appearance like a young king would, with much broader facial features, a stronger body build and
mature features like facial hair. But I also had the idea that he would also have a fairly warn-down look in him,
perhaps maybe a sadder facial expression and more sunken in eyes. To design these features, I looked at over famous
celebrities that bore similar features of the Spouse twins with blonde hair and rounded heads such as Kurt Cobain and
Heath Ledger, who I immediately thought of due to most of their masculine features like rough skin, broad cheek
bones and stern eyes and noses, not to mention that both experienced mental health issues later on in their lives,
which was somewhat reflective of our older character with the stress of peoples lives being lost by the Worm because
of him. I personally always thought of the idea of the Worm being a serpent like reptile creature, which is a design
choice that has followed many other interpretations of the Worm with its dragon-like design. So I decided to design
my Worm using a lot of existing cold blooded creatures like fish, amphibians and reptiles. The head of the fully-grown
Worm was designed from the head and skull of a Moray Eel, The hands at the top of the worms body was inspired by
the Greater Siren (a species of Salamander with only two fore-arms), the yellow under-belly and rough, red skin
(which is a little bit hard to see in the illustrations) are attributes to the red bush Viper. And I also decided to look at
other fictional snake creatures like the Basilisk in Harry Potter, which is where I got the idea for putting the sharp frills
on the creatures back. I chose to make the colour scheme appear bright and colourful like many other illustrators for
children books choose to do, just so I could possibly balance out some of the more dark and grim aspects of the story
like the Worm devouring cattle and people, and the King slaying the worm by slicing it to pieces. You could say that
the aesthetic of thick black outlines mixed with a wide range of colour tones is similar to the work of artists like Nick
Price and Bill Greenhead who have done illustrations for many children's books in the past such as ‘Secret Agent
Oliver’ and the ‘Pongwiffy’ series.
19.
20. What were the strengths and weaknesses of the pre-
production and planning
I think that the pre-production planning was quite successful, and I was able to complete most of the tasks on-time. The
areas which I placed the most extensive research into was with how I was going to adapt the folklore into a children's story.
So to do this, I had to look into how the original story was told, and research other adaptations of the story, and as a result
gathered a large amount of sources from other children’s books such as the adaptation by , to post cards and even to a
cigarette packets that featured scenes from the story for commercial purposes. This gave me more of an understanding of
how the original story played out (as the first time I had ever heard of the story was a poem summarising the story in just a
few lines in a book of sonnets), what other children's books had done to adapt the story, and how they had changed it in
terms of toning down some of the darker elements for children, and what elements of the story they cut out to make the
story fit into a more condensed book for children. They and to give me a bit of inspiration for the aesthetic I should use
within my story, like the art style that would be most suitable for portraying the story, the setting that the story should take
place in and the design for the backgrounds, and for how my characters should be designed, such as the idea to make the
Worm more serpent-like as seen in the cigarette packet. When it came to looking into how a few real children's books are
designed such as ‘Where the wild things’ are, and ‘The selfish giant’, from there, I was able to examine many small features
that could make my own children's book seem all the more authentic and sellable, such as the choice of using Serif font, the
page layout of text on the left page, and illustrations on the right page and how looking up the psychology of how our brains
read information from left to right to understand how this layout works, and even how the back of the cover is designed
with a blurb, price tag, and the particular barcode that is used specifically for books. As with managing my time, I managed
to get all of my research and planning layed out before the deadline, leaving enough time for me to move straight onto the
development of my real children's story itself. However, I did later on include a few more details and improvements to my
research into children's books, as the original written research appeared very basic and un-informal compared to what it is
like now after improvements. If there was one thing I would definitely improve upon, it would be parts of my proposal for
the story when describing my targeted audience. In this segment of my proposal, I mentioned how I had planned for my
book to be sold to children aged 1-6. I consider this a mistake on my part, as at the time, I overlooked what the regular
targeted age is for children's books, thinking that it would be this age range, but after looking much closer into the books I
researched, I found that the targeted age was much higher than this, with the average book being promoted to children
aged 3-7, and ‘Where the wild things are’ targeted children age 5-8. I think that this mistake came after looking up a few
books apart of the ‘Biff and Chip’ series which did promote itself to be read by children at a much younger age, and I
assumed that this was just the average targeted age for all children's books.
21.
22. Historical and cultural context
In regards to the original telling of the Lambton Worm, I’d say that my adaptation is definitely much less
graphic and darker than the original, which I suppose is good, regarding that it is a book designed
for children. But in terms of the actual plot, the original story felt a lot more dense with many other
elements happening within the main story such as the curse that plagues the heir after killing the
worm, the religious themes throughout the story, and the many other additional characters, while
my story wound up kind of bare-bones due to the content that needed to be cut out to complete
the story in time, which I suppose isn’t too bad either, saying that children are meant to follow the
story easily. Oddly enough, this story itself does have several re-adaptations, but they are few, and
with some being relatively obscure titles to say the least. It appears that the first adaptation of the
story was into an old folklore song, which can be found in the Roud Folk Song Index, identified as
Roud #2337. The song follows the same basic story, only this time with a much happier ending
without any mention of the curse. Other adaptations of the story include The lair of the white worm
by Bram Stoker in 1911, which draws a lot of inspiration from the tale, but was poorly received.
Later on from the late 1970’s and onwards, it seems that the story started to gain more and more
attention. an Opera had been made of the story in 1978 by composer Robert Sherlaw Johnson, and
poet Anne Ridler. A film adaptation of Lair of the White worm was made in 1988, this time with a
mixed reception from critics, with Roger Ebert calling it “A respectable B-grade monster movie”. And
in 1989, a direct sequel to the Wicker man was written titled the loathsome Lambton Worm, but
was never set into production. As of today, there have been a few other children's books that have
told the story like I’ve mentioned previously in the slides above. As well as being included in a
variety of folktale collections, such as in Joseph Jacobs’ More English Fairy Tales. But some of the
more mainstream depictions of the Lambton Worm seems to be in graphic novels, such as in Bryan
Talbots Alice in Sunderland, where it was retold as apart of an anthology with other existing
folklore.