The document provides a template for evaluating a graphic narrative project. It prompts the user to:
1) Provide specific details about the project, including written and visual examples, to explain the project.
2) Identify areas of the work to praise, specifying why they are good or what the user is proud of.
3) Identify areas for improvement and what could be better if revisited.
The template suggests adding additional slides as needed and deleting any blank slides before submission.
The document discusses the creator's graphic narrative evaluation. Some key points:
- The final product reflects the original intentions through inclusion of elements from research and planning.
- Techniques like varied page layouts from books like The Gruffalo were incorporated to make the book more interesting.
- Characters look similar to initial mood boards through combining elements and some direct rotoscoping.
- The style is similar to the digital flat plan with minor changes for aesthetics.
- The storyboard was used as a template with minor adjustments for layout and placement.
- Feedback is provided on ways to improve elements like text size, complexity, and use of quotation marks.
- The author believes their final product reflects their original intentions as it incorporates elements from research on children's books that worked well, such as varied page layouts from The Gruffalo.
- Characters look similar to initial mood boards, with some elements directly rotoscoped from mood boards. The style is similar to the digital flat plan with minor changes.
- The storyboard was used as a template for layout and design, with minor adjustments for aesthetics once constructed. A few elements differed from intentions, such as more detailed characters on a simpler background.
- Images are constructed consistently in a muted color scheme to give an aged feel setting the story in the past. Characters are integrated into settings with shadows
The document provides a template for evaluating a graphic narrative project. It prompts the creator to summarize their work, provide examples from their project to explain it, identify areas that went well and could be improved, and reflect on how well their final product achieved their original intentions. It includes questions about the construction of images, use of text, suitability for the intended audience, and techniques used. The creator provides detailed responses analyzing various aspects of their graphic narrative book project for a young audience.
Digital graphics evaluation powerpoint scott wilson 2ScottWilson977
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about strengths and weaknesses in their work, including both written explanations and visual examples. The reader should identify areas of their project that are good as well as areas that could be improved, and be specific about what they would change. Additional slides can be added as needed, and any blank slides should be deleted before submission.
The document provides a template for evaluating a graphic narrative project. It prompts the student to summarize their original intentions, analyze how well they constructed images and used text, evaluate whether their final product is suitable for the intended audience, reflect on techniques used, and identify representations in the work. The student responds to each prompt, praising aspects of their work while also noting areas for improvement, such as making characters more detailed and the overall production more accurate.
The document provides guidance for evaluating a project using a template. It instructs the user to provide specific details about their work, including written and visual examples to explain the project. The user should find areas of their work to praise, being specific about what is good or what they are proud of. They should also find areas for improvement, specifying what could be better if revisited. Additional slides can be added as needed, and any blank slides should be deleted before submission.
The document provides guidance for evaluating a graphic narrative project, including comparing the final product to original plans, examining how well images and text were constructed, and assessing whether the intended audience was suitable. Specific examples are given of how the project followed or diverged from initial plans, techniques used like shapes and tools, and how effectively the narrative and visuals were conveyed for young children.
- The document discusses the evaluation of a graphic narrative created by Demi Jay.
- The creator feels their final product largely reflects their original planning and intentions, though some minor changes were made for improved storytelling.
- They constructed characters and backgrounds using rotoscoping and Photoshop tools to achieve a cartoon style. More detailed characters came out better.
- Images and style reflect popular animated shows like Ben and Holly to achieve a professional standard.
- Text was shortened and placed amongst images to tell the story concisely while keeping pages visually engaging for young audiences.
The document discusses the creator's graphic narrative evaluation. Some key points:
- The final product reflects the original intentions through inclusion of elements from research and planning.
- Techniques like varied page layouts from books like The Gruffalo were incorporated to make the book more interesting.
- Characters look similar to initial mood boards through combining elements and some direct rotoscoping.
- The style is similar to the digital flat plan with minor changes for aesthetics.
- The storyboard was used as a template with minor adjustments for layout and placement.
- Feedback is provided on ways to improve elements like text size, complexity, and use of quotation marks.
- The author believes their final product reflects their original intentions as it incorporates elements from research on children's books that worked well, such as varied page layouts from The Gruffalo.
- Characters look similar to initial mood boards, with some elements directly rotoscoped from mood boards. The style is similar to the digital flat plan with minor changes.
- The storyboard was used as a template for layout and design, with minor adjustments for aesthetics once constructed. A few elements differed from intentions, such as more detailed characters on a simpler background.
- Images are constructed consistently in a muted color scheme to give an aged feel setting the story in the past. Characters are integrated into settings with shadows
The document provides a template for evaluating a graphic narrative project. It prompts the creator to summarize their work, provide examples from their project to explain it, identify areas that went well and could be improved, and reflect on how well their final product achieved their original intentions. It includes questions about the construction of images, use of text, suitability for the intended audience, and techniques used. The creator provides detailed responses analyzing various aspects of their graphic narrative book project for a young audience.
Digital graphics evaluation powerpoint scott wilson 2ScottWilson977
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about strengths and weaknesses in their work, including both written explanations and visual examples. The reader should identify areas of their project that are good as well as areas that could be improved, and be specific about what they would change. Additional slides can be added as needed, and any blank slides should be deleted before submission.
The document provides a template for evaluating a graphic narrative project. It prompts the student to summarize their original intentions, analyze how well they constructed images and used text, evaluate whether their final product is suitable for the intended audience, reflect on techniques used, and identify representations in the work. The student responds to each prompt, praising aspects of their work while also noting areas for improvement, such as making characters more detailed and the overall production more accurate.
The document provides guidance for evaluating a project using a template. It instructs the user to provide specific details about their work, including written and visual examples to explain the project. The user should find areas of their work to praise, being specific about what is good or what they are proud of. They should also find areas for improvement, specifying what could be better if revisited. Additional slides can be added as needed, and any blank slides should be deleted before submission.
The document provides guidance for evaluating a graphic narrative project, including comparing the final product to original plans, examining how well images and text were constructed, and assessing whether the intended audience was suitable. Specific examples are given of how the project followed or diverged from initial plans, techniques used like shapes and tools, and how effectively the narrative and visuals were conveyed for young children.
- The document discusses the evaluation of a graphic narrative created by Demi Jay.
- The creator feels their final product largely reflects their original planning and intentions, though some minor changes were made for improved storytelling.
- They constructed characters and backgrounds using rotoscoping and Photoshop tools to achieve a cartoon style. More detailed characters came out better.
- Images and style reflect popular animated shows like Ben and Holly to achieve a professional standard.
- Text was shortened and placed amongst images to tell the story concisely while keeping pages visually engaging for young audiences.
The document provides guidelines for evaluating a graphic narrative project. It instructs the reader to provide specific details about their work by giving both written and visual examples to explain the project. It also says to find areas of the project to praise by being specific about what is good or could be improved, and to add additional slides as needed. Blank slides should be deleted before submission.
The document provides guidance for evaluating a graphic narrative project. It prompts the creator to praise strong elements of their work and identify areas for improvement. It suggests including both written and visual examples to explain the project. The creator should evaluate whether their final product achieved their original intentions and reflected their planning documents. They should also consider how well they constructed images, used text, and ensured their product was suitable for their intended audience.
This document contains the responses from Jordan Lee to questions about their graphic narrative project. Jordan indicates that their final product largely reflected their original intentions and planning. They constructed simple but effective images within the time constraints. Text was used well to anchor the images and provide a clear narrative. Jordan feels the project is suitable for its intended 2-5 year old audience. They liked using shape tools but disliked rotoscoping. While characters could have been improved, overall Jordan is pleased with the consistent style and readability of the final product. Signs, symbols and representations were carefully considered to differentiate characters and create meaning.
The planning for the graphic narrative had some weaknesses. The flat plans did not allow for enough variation between pages and used real images that could not be replicated digitally. More time should have been spent planning character placement and text to avoid repetitive pages. However, research of other books helped with props and style. Overall, better planning is needed for consistency and to avoid rushing production.
The document provides an evaluation of a graphic narrative project. The author summarizes how their final product followed their original intentions from the storyboard, with some changes that improved the work. While the beginning followed the flat plans closely, more relevant details from the plans were included as the book went on. The layout also changed from multiple images per page to one image per page for better aesthetics. In conclusion, the original intentions were generally followed and changes made improvements.
Digital graphics evaluation pro forma (1)Sian England
The document provides guidance for evaluating a graphic narrative project. It instructs the user to provide specific details about their work, including written and visual examples. It also prompts the user to identify strengths and areas for improvement. The user should compare their original plans to the final product and reflect on how well they constructed images, used text, and ensured their product was suitable for the intended audience. The template suggests adding additional slides as needed and deleting any blank slides before submission.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about strengths and weaknesses of their work, including both written and visual examples. It suggests praising strong elements and identifying areas for improvement. Blank slides should be deleted before submission. The document contains examples of an author evaluating consistency with their original intentions, adherence to specifications, visual construction, use of text, suitability for audience, production techniques, and representations in their work.
Digital graphics evaluation pro forma james horbury james horbury
The document provides self-evaluation and reflection from a student on their graphic narrative project. The student evaluates how well their final product met their original intentions, how they constructed images, used text, and whether their product was suitable for the intended audience. They also reflect on the techniques used, content included, representations, style, pre-production planning, and historical/cultural context of their work.
Digital graphics evaluation pro forma(1)Fraeya Snaith
The document summarizes the student's graphic narrative evaluation. It discusses how their final product reflects their original planning, how well they constructed images using color and texture, how text anchors the images, the suitability of the product for its target audience of 3-5 year olds, likes and dislikes of techniques used, the inclusion of specific content, representations in the work, visual style influences, and strengths and weaknesses of pre-production planning.
The document provides a template for evaluating a graphic narrative project. It prompts the user to summarize their original intentions, compare their final product to planning documents, discuss the construction and use of images and text, and evaluate how suitable their product is for the intended audience. The user is asked to provide specific details, examples, praise for strong elements, and suggestions for potential improvements. Blank slides can be deleted before submission.
The document provides a template for evaluating a graphic narrative project. It prompts the creator to summarize their work, including specific details about what went well and could be improved. It also asks the creator to reflect on how well their final product achieved their original intentions, how professionally their images were constructed, how text anchors the images, and whether the work is suitable for its intended audience.
Dom Midgley | Digital Graphics EvaluationDom Midgley
This document provides a template for evaluating a graphic narrative project. It prompts the creator to provide specific details and examples from their work to explain the project. It asks them to identify strengths and areas for improvement. It also includes questions about how well the final product reflects the original intentions, how the images were constructed, how text was used, the suitability for the intended audience, techniques used, and the overall style employed. The creator provides detailed responses analyzing various elements of their graphic narrative book for children.
The document 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 guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details and examples from their work to explain what they liked and areas that could be improved. It includes questions to help guide self-reflection on how well the final product achieved the original intentions, how images were constructed, how text was used, and whether the content and techniques were suitable for the intended audience. The reader provides responses analyzing various aspects of their graphic narrative based project.
The document provides a template for evaluating a graphic narrative project. It prompts the user to provide specific details about their work, including written and visual examples. It also prompts the user to identify strengths and areas for improvement. The user should add additional slides as needed and delete any blank slides before submission.
The creator intended to adapt the traditional Ugly Duckling story while keeping the main parts the same. During production, they changed the ending and had to make additional changes throughout. While this meant the final product differed from original plans, the changes were not significant enough to alter the overall storyboard and flat plans. The creator likes how they constructed simple cartoon images using shape tasks but found backgrounds and small details challenging with this technique. They feel the final product is suitable for children due to its clear images, simple text, and meaningful story about treating others fairly.
The document provides a template for evaluating a graphic narrative project. It includes prompts to praise strengths and identify areas for improvement, with a focus on visual and textual elements. The evaluation should reference specific examples from the project to explain choices in images, style, and how well the final product meets the original intentions.
The document provides a template for evaluating a graphic narrative project. It prompts the user to summarize their project, praise strengths and identify areas for improvement. It suggests including both written explanations and visual examples. It also prompts reflection on how well the intentions, images, text, techniques, audience suitability, representations, style, planning and historical/cultural context were executed in the project.
De Reis van de Heldin April 2015. Verhalen van vrouwelijke professionals die met hun passie hun geld verdienen. Heb je interesse om deel te nemen aan één van de toekomstige edities van de Reis van de Heldin reisgids? Mail mij op peterdekuster@hotmail.nl voor de voorwaarden. Peter
El documento discute el cambio de rol de los docentes debido a la era de las tecnologías de la información y la comunicación (TIC). Aunque las TIC no cambian el propósito general de la educación, ofrecen nuevas formas de mejorar la enseñanza y el aprendizaje. El uso adecuado de las TIC trae muchos beneficios a la educación moderna, mientras que el mal uso puede causar frustraciones. Los docentes deben adoptar las nuevas tecnologías en lugar de métodos tradicionales, y jugar un pap
The document provides guidelines for evaluating a graphic narrative project. It instructs the reader to provide specific details about their work by giving both written and visual examples to explain the project. It also says to find areas of the project to praise by being specific about what is good or could be improved, and to add additional slides as needed. Blank slides should be deleted before submission.
The document provides guidance for evaluating a graphic narrative project. It prompts the creator to praise strong elements of their work and identify areas for improvement. It suggests including both written and visual examples to explain the project. The creator should evaluate whether their final product achieved their original intentions and reflected their planning documents. They should also consider how well they constructed images, used text, and ensured their product was suitable for their intended audience.
This document contains the responses from Jordan Lee to questions about their graphic narrative project. Jordan indicates that their final product largely reflected their original intentions and planning. They constructed simple but effective images within the time constraints. Text was used well to anchor the images and provide a clear narrative. Jordan feels the project is suitable for its intended 2-5 year old audience. They liked using shape tools but disliked rotoscoping. While characters could have been improved, overall Jordan is pleased with the consistent style and readability of the final product. Signs, symbols and representations were carefully considered to differentiate characters and create meaning.
The planning for the graphic narrative had some weaknesses. The flat plans did not allow for enough variation between pages and used real images that could not be replicated digitally. More time should have been spent planning character placement and text to avoid repetitive pages. However, research of other books helped with props and style. Overall, better planning is needed for consistency and to avoid rushing production.
The document provides an evaluation of a graphic narrative project. The author summarizes how their final product followed their original intentions from the storyboard, with some changes that improved the work. While the beginning followed the flat plans closely, more relevant details from the plans were included as the book went on. The layout also changed from multiple images per page to one image per page for better aesthetics. In conclusion, the original intentions were generally followed and changes made improvements.
Digital graphics evaluation pro forma (1)Sian England
The document provides guidance for evaluating a graphic narrative project. It instructs the user to provide specific details about their work, including written and visual examples. It also prompts the user to identify strengths and areas for improvement. The user should compare their original plans to the final product and reflect on how well they constructed images, used text, and ensured their product was suitable for the intended audience. The template suggests adding additional slides as needed and deleting any blank slides before submission.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details about strengths and weaknesses of their work, including both written and visual examples. It suggests praising strong elements and identifying areas for improvement. Blank slides should be deleted before submission. The document contains examples of an author evaluating consistency with their original intentions, adherence to specifications, visual construction, use of text, suitability for audience, production techniques, and representations in their work.
Digital graphics evaluation pro forma james horbury james horbury
The document provides self-evaluation and reflection from a student on their graphic narrative project. The student evaluates how well their final product met their original intentions, how they constructed images, used text, and whether their product was suitable for the intended audience. They also reflect on the techniques used, content included, representations, style, pre-production planning, and historical/cultural context of their work.
Digital graphics evaluation pro forma(1)Fraeya Snaith
The document summarizes the student's graphic narrative evaluation. It discusses how their final product reflects their original planning, how well they constructed images using color and texture, how text anchors the images, the suitability of the product for its target audience of 3-5 year olds, likes and dislikes of techniques used, the inclusion of specific content, representations in the work, visual style influences, and strengths and weaknesses of pre-production planning.
The document provides a template for evaluating a graphic narrative project. It prompts the user to summarize their original intentions, compare their final product to planning documents, discuss the construction and use of images and text, and evaluate how suitable their product is for the intended audience. The user is asked to provide specific details, examples, praise for strong elements, and suggestions for potential improvements. Blank slides can be deleted before submission.
The document provides a template for evaluating a graphic narrative project. It prompts the creator to summarize their work, including specific details about what went well and could be improved. It also asks the creator to reflect on how well their final product achieved their original intentions, how professionally their images were constructed, how text anchors the images, and whether the work is suitable for its intended audience.
Dom Midgley | Digital Graphics EvaluationDom Midgley
This document provides a template for evaluating a graphic narrative project. It prompts the creator to provide specific details and examples from their work to explain the project. It asks them to identify strengths and areas for improvement. It also includes questions about how well the final product reflects the original intentions, how the images were constructed, how text was used, the suitability for the intended audience, techniques used, and the overall style employed. The creator provides detailed responses analyzing various elements of their graphic narrative book for children.
The document 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 guidance for evaluating a graphic narrative project. It instructs the reader to provide specific details and examples from their work to explain what they liked and areas that could be improved. It includes questions to help guide self-reflection on how well the final product achieved the original intentions, how images were constructed, how text was used, and whether the content and techniques were suitable for the intended audience. The reader provides responses analyzing various aspects of their graphic narrative based project.
The document provides a template for evaluating a graphic narrative project. It prompts the user to provide specific details about their work, including written and visual examples. It also prompts the user to identify strengths and areas for improvement. The user should add additional slides as needed and delete any blank slides before submission.
The creator intended to adapt the traditional Ugly Duckling story while keeping the main parts the same. During production, they changed the ending and had to make additional changes throughout. While this meant the final product differed from original plans, the changes were not significant enough to alter the overall storyboard and flat plans. The creator likes how they constructed simple cartoon images using shape tasks but found backgrounds and small details challenging with this technique. They feel the final product is suitable for children due to its clear images, simple text, and meaningful story about treating others fairly.
The document provides a template for evaluating a graphic narrative project. It includes prompts to praise strengths and identify areas for improvement, with a focus on visual and textual elements. The evaluation should reference specific examples from the project to explain choices in images, style, and how well the final product meets the original intentions.
The document provides a template for evaluating a graphic narrative project. It prompts the user to summarize their project, praise strengths and identify areas for improvement. It suggests including both written explanations and visual examples. It also prompts reflection on how well the intentions, images, text, techniques, audience suitability, representations, style, planning and historical/cultural context were executed in the project.
De Reis van de Heldin April 2015. Verhalen van vrouwelijke professionals die met hun passie hun geld verdienen. Heb je interesse om deel te nemen aan één van de toekomstige edities van de Reis van de Heldin reisgids? Mail mij op peterdekuster@hotmail.nl voor de voorwaarden. Peter
El documento discute el cambio de rol de los docentes debido a la era de las tecnologías de la información y la comunicación (TIC). Aunque las TIC no cambian el propósito general de la educación, ofrecen nuevas formas de mejorar la enseñanza y el aprendizaje. El uso adecuado de las TIC trae muchos beneficios a la educación moderna, mientras que el mal uso puede causar frustraciones. Los docentes deben adoptar las nuevas tecnologías en lugar de métodos tradicionales, y jugar un pap
The Promenade is a romantic, European-style mall with indoor and outdoor spaces, gardens, and fountains. It offers a variety of international cuisines like Italian, Mexican, and Japanese, as well as desserts and refreshments. The mall also has hundreds of trendy fashion brands and luxury clothing and jewelry. Additionally, it provides many beautiful spots for taking pictures, especially in the evenings.
La Universidad Nacional de Chimborazo tiene como misión formar profesionales críticos a nivel superior comprometidos con los valores humanísticos, morales y culturales que contribuyan al desarrollo sostenible de la provincia y el país. Su visión es ser una institución líder en educación superior que forme profesionales con responsabilidad social y axiológica, con sólidos conocimientos en ciencia, tecnología y cultura. La Facultad de Ciencias Políticas y Administrativas busca dar solución a problemas jurí
Este documento describe las Tecnologías de la Información y Comunicación (TIC), incluyendo que son herramientas que administran y comparten información a través de soportes tecnológicos. Explica que las TIC han sido fundamentales para la sociedad y la educación al permitir la comunicación y el aprendizaje a distancia. También discute cómo las TIC han influenciado a la humanidad en áreas como la educación, el trabajo y la sociedad, aunque todavía falta aprovechar su potencial máximo.
Cryptologypastpresentandfuture 130131082256-phpapp02KARNAN L S
Cryptology is the study of secret writings and involves encoding information using computer science and mathematics to ensure data security. It involves encryption to encode plaintext into ciphertext using an encryption key, and decryption to decode the ciphertext back into plaintext using a decryption key. Cryptography is the art and science of creating secret codes, while cryptanalysis is the art and science of breaking those codes. Cryptology methods like substitution ciphers are used to securely transmit data over insecure networks like the internet as well as in applications like ATMs and during World War II. However, cryptology also has limitations in that both creating and breaking codes can be long processes.
Vicki Jarvis is a web designer. Her resume lists her job title as Web Designer and provides her contact information. The document appears to be a resume or profile for Vicki Jarvis and her role as a web designer.
El documento proporciona una breve historia del sistema operativo OS/2 desarrollado originalmente por IBM y Microsoft para computadoras personales. OS/2 evolucionó para incluir el Presentation Manager (un escritorio completamente orientado a objetos) y pasó por versiones como la 1.0 de 16 bits en 1987 y versiones posteriores que agregaron funcionalidades como soporte para procesadores de 32 bits e interfaces gráficas.
This document discusses integrating social networking tools into ESL writing classrooms, outlining both strengths and weaknesses. It explores using Facebook and Wikipedia specifically. Facebook can be used to construct a virtual classroom where students post compositions and teachers share resources. Wikipedia can serve as an online discussion forum where students write reviews and reflections. Integrating these tools may help broaden students' knowledge, increase motivation, and build confidence in writing skills. However, challenges include students having difficulty concentrating on materials while using computers, lack of equipment and internet access, and teachers having insufficient time to interact with students. More research is needed on attitudes towards using technology in ESL contexts.
This document discusses different methods for taking notes from research sources, including direct quotation, paraphrasing, and summarization. It emphasizes the importance of paraphrasing by restating information in your own words and provides examples of paraphrasing short texts. The document also notes several benefits of using good note-taking strategies, such as avoiding plagiarism, easier paper organization, and improving overall paper quality.
The document summarizes a presentation given at the ODJFS Conference on May 5, 2015 about the Governor's Office of Workforce Transformation (OWT) and their Workforce Success Measures project. The presentation covered an overview of OWT, their strategic framework for identifying business needs, connecting workers to businesses, and aligning training programs. It also discussed the data partnership called OhioAnalytics that supports research using administrative data to evaluate workforce program outcomes. Examples of outcome metrics and data products from the Workforce Success Measures dashboard were demonstrated.
This document advertises and provides information about a two-day Patient Safety Summit on August 16-17, 2012. The summit will focus on improving patient care quality and safety. It will include presentations and panels on topics like preventing healthcare associated infections, surgical site infection prevention, reducing medical errors and readmissions. Speakers will include experts from healthcare organizations, government agencies, and a patient safety advocate. The event is free to attend in-person or via webcast. The document provides registration information and details on locating the conference center and hotel accommodations.
proiectul Cardului Electronic de identitate a fost lansat si depus la autoritatile Romanesti din 2005. Dupa 10 ani inca sistemul de "selectie" nu a reusit sa "gaseasca" firma "merituoasa" pentru acest proiect. Intre timp s-au dat peste cap proiectul Cardului de Sanatate si a mai multor solutii din cauza de coruptie, ne-profesionalism, trafic de influenta si prostie.
In 2015 acest priect are in acceptiunea si solutia noastra nivelul si varianta de lansare optima. Asteptam.
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.
Evaluation of Children's book pro forma - personal reflectionEllie Marsh
The document provides a template for evaluating a graphic narrative project. It prompts the user to summarize their original intentions, compare their planning documents to the final product, evaluate how well they constructed images and used text to anchor the images, and assess whether the product is suitable for the intended audience. The user provides responses analyzing the development of their 9-page graphic narrative for boys aged 4-6. They discuss aligning with their original plans, using consistent colors and styles, room for improving text-image alignment, and similarities to other books for their audience.
My work features representations of bears and a young girl in space. The main characters are:
- A father bear who is shown as protective of his family and a little grumpy or angry.
- A mother bear who is gentle and caring.
- A young girl bear who is curious and excited about exploring space.
- A human girl who is the protagonist, shown wearing a spacesuit and exploring space.
My characters could be seen as quite stereotypical - the father bear is grumpy, the mother bear is gentle and caring. However, I aimed to show a variety of ages (adults and a child) and include both male and female roles. I chose bears as they are universally recognizable
The document provides a template for evaluating a graphic narrative project. It prompts the user to provide specific details and examples about the strengths and weaknesses of their work, including how well images and text were constructed and integrated. It also asks the user to consider how well their final product achieved their original intentions and was suitable for their intended audience.
The document provides guidance for evaluating a graphic narrative project. It prompts the reader to:
- Provide specific details about their work through written and visual examples.
- Find areas to praise, specifying why parts are good or what they are proud of.
- Identify areas for improvement and what could be better if revisited.
- Reflect on if the final product achieved the original intentions shown in planning materials like mind maps, mood boards, and storyboards.
The document provides guidance for evaluating a graphic narrative project. It 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 prompts the user to praise strong elements of their work and identify areas for improvement. It suggests including both written explanations and visual examples. The template recommends adding additional slides as needed and deleting any blank slides before submission. It also asks the user to compare their final product to their original plans and intentions.
A classmate provided feedback on my graphic narrative project. They praised the bright colors and cartoon style that would appeal to children. However, they noted that the text could be better integrated with the images to help tell the story. They also felt some of the character designs could be improved. I agreed that the text placement could be stronger but felt the character designs effectively conveyed the story.
The student created a children's book as a graphic narrative project. They used shaping tools to construct background images and rotoscoping to create characters. They included different colors, fonts, and effects to convey meaning. Bright colors were used in the beginning to match the happy emotions, and darker tones were used at night to match somber emotions. Character designs and locations were chosen deliberately to symbolize aspects like the old man's age through his baldness and hunched posture. Though the characters differ in attributes like wealth, both have positive traits. The student provided this self-evaluation to analyze strengths and areas for improvement in their project.
The document provides guidance for evaluating a graphic narrative project. It instructs the reader to provide specific written and visual details about their work, including areas they are proud of and could improve. It suggests adding additional slides as needed and deleting any blank slides before submission. The reader is prompted to reflect on whether their final product reflects their original intentions by comparing it to their storyboards and planning.
The document discusses the student's graphic narrative project evaluating various aspects of their final product such as how well it reflects their original intentions, how they constructed images, used text to anchor images, how suitable it is for the intended audience, and techniques used.
The student feels their final product generally reflects their original intentions as shown through their planning process including mind maps, mood boards, and storyboards. They constructed images using shape tools in Photoshop but note room for improvement. They acknowledge text could have been better anchored to images on some pages. The content is deemed suitable for the 4-6 year old target audience.
The student discusses likes and dislikes of the techniques used, including enjoying the warp tool but finding 2
Digital graphics evaluation pro forma 3-2Bradley Cox
The document provides a template for evaluating a graphic narrative project. It prompts the creator to provide specific details and examples from their work to praise strengths and identify areas for improvement. The creator is also asked to reflect on how well their final product achieved their original intentions and planning. They should compare their storyboards, flat plans, and other pre-production materials to the final product.
The document provides guidance for evaluating a graphic narrative project. It prompts the user to provide specific details about their work, including written and visual examples. It suggests praising strong areas of the work and identifying areas for improvement. The user is then asked a series of questions to reflect on their original intentions, how well they constructed images, used text, and whether their final product is suitable for their intended audience.
The document provides a graphic narrative evaluation by the creator. They compare their original storyboards and digital flat plans to their final product. They feel their final product reflects their original intentions, with only minor changes to aesthetics. They constructed their images well using shapes, textures, and colors, though feel they could have improved some textures and sky colors. They used varying amounts of text on pages to anchor the images depending on what needed explanation. They feel their product is suitable for their 3-6 year old audience as it avoids prejudices, violence, and bad language. They liked using simple shape and warp tools but disliked limitations of the tools and lack of experience using them. They are happy with the basic yet intriguing look of the
Digital graphics evaluation pro forma.pptxSam Hughes
Peer feedback praised the unique visual style and simple yet engaging narrative of the graphic narrative. However, some feedback noted that some pages could benefit from additional details and characters to further immerse the reader. While the author agreed that some pages could be improved with more content, they were proud of developing a distinctive visual style for their target audience.
The peer feedback praised the graphics for using simple yet distinctive character designs and striking colors that would appeal to younger audiences, though some felt the backgrounds could be more realistic. The use of thought bubbles to show additional story elements was highlighted as effective, while some responses noted the text could be improved and backgrounds varied more across pages. Overall the feedback provided constructive suggestions to consider while also acknowledging positive aspects of the graphics.
The student evaluated their graphic narrative project using a provided template. They praised areas of their work, found areas for improvement, and compared their initial plans and storyboards to the final product. They discussed how well they constructed images using color and texture, how text was used to support images, and whether the content was suitable for their intended young audience. The student also reflected on the techniques used, strengths and weaknesses of planning, cultural representations in their work, and their work's style and historical context.
The document provides a template for evaluating a graphic narrative project. It prompts the student to provide specific details about their work by giving both written and visual examples to explain their project. It asks the student to find areas of their work to praise and areas that could be improved. The student is asked to compare their initial plans and intentions to their final product. They are also prompted to evaluate how well they constructed images, used text, and ensured their product was suitable for their intended audience.
The document provides guidance for evaluating a graphic narrative project. It prompts the creator to praise strong elements of their work and identify areas for improvement. The creator should compare their final product to initial plans and storyboards. They are asked to consider how well images were constructed, how text anchors the visuals, and whether the content is suitable for the intended audience. The creator is also prompted to discuss techniques used and their likes/dislikes regarding the final product and content inclusion.
The document discusses cultural competence in understanding media texts. It explains that cultural understanding is needed to interpret language, signs, and symbols used as visual shorthand. Different cultures attach meaning to signs and symbols in various forms. It provides examples of how a Christmas tree, leather jacket, sports car, and cross take on certain meanings based on shared cultural knowledge and interpretations. The document stresses that while visual representations may appear the same globally, the meanings attached can differ across cultures.
Similar to Digital Graphics Evaluation Pro-Forma Finished (20)
The document provides evaluations of different digital graphic narrative assignments, including shapes, rotoscoping, text, comic books, photography, and illustration. For the shapes task, the student liked the gradients and outlines that made the image look realistic, and would improve gaps and add more detail. For the improved shapes task, more background and eye color were liked, and smoother outlines would be improved.
The document provides guidance for planning a digital graphic narrative project. It outlines various considerations for the project including costs, available resources, quantity, audience, quality factors, codes of practice, regulations, copyright, ethical issues, and health and safety. A production schedule is also included, dividing the project into 10 sessions and detailing the planned tasks and activities for each session.
Vector graphics are made up of vectors which define start and end points and paths between them. Vectors can form any shape and scale to different sizes without losing quality, making them flexible for business use on various materials like posters and leaflets. Raster graphics are made up of pixels recorded in bitmaps that have a fixed resolution, so resizing can cause distortion and pixilation. File formats like JPEGs are commonly used for photos but lose quality each time they are edited, while TIFFs maintain quality but are larger files. Vector formats like AI and raster formats like PSD are professional tools but have large file sizes and limited sharing abilities. Compression reduces file sizes but can lower image quality through information loss.
The document provides evaluations of different digital graphic narrative development tasks including shape tasks using pandas and penguins, rotoscoping images of hamsters and fish, text techniques using different tools, creating comic book style images, photography of emotions, and an illustration of flowers. For most tasks, the evaluations note what was liked such as realistic details, use of tools, and effects created, and improvements that could be made such as adding more details, textures, interesting backgrounds or experimenting with other tools.
Hannah Woollaston is a writer and editor based in London. She has over 5 years of experience writing for various publications covering topics like travel, lifestyle, and culture. Her goal is to craft engaging stories that inform and inspire readers.
The document provides planning considerations for a digital graphic narrative project. It discusses costs, available resources, quantity, audience and target market, quality factors, codes of practice, regulations, copyright, ethical issues, and required resources. For costs, it notes software, equipment, and printing expenses would be incurred for a real project. Available college resources like Photoshop and internet access are considered. It recommends printing 1000 copies initially for a mass market and appeals to parents as the target audience. Quality, deadlines, standards, and avoiding distractions are emphasized. Regulations for toys or obscene content would not apply. Copyright and sourcing of images/fonts is discussed. Representation and cultural sensitivity in content are ethical concerns to address.
The document provides guidance for planning a digital graphic narrative project. It discusses considering costs, available resources, quantity, audience and target market, quality factors, codes of practice, regulations, copyright, ethical issues, and required resources. The student should think through each section in detail to show they have considered all aspects of the project as if it were a real commercial endeavor rather than just a college assignment.
Development Pro-Forma finished Hannah Woollastonhannahw12
This document contains evaluations of different digital graphic narrative development tasks completed by Hannah Woollaston, including improving a panda image, creating penguin and hamster images using different tools, practicing text techniques, and creating comic book-style and illustration images. For each task, Hannah provides what she liked about her image and what she would improve if doing the task again, focusing on adding more detail, texture, interesting backgrounds, and experimenting with different tools.
This document contains summaries of assignments from a digital graphic narrative development course. It includes summaries of the student's evaluations of various image creation tasks using different digital tools, such as the shape tool, rotoscope tool, and text tools. The student provides feedback on what they liked about their images and how they could be improved. It also includes a summary of their proposal for a comic book project, which outlines the story, production methods, audience, and includes a feedback section.
This document provides information on different types of digital file formats for graphics, including raster graphics (made up of pixels/bitmaps), vector graphics (made up of vectors/paths), and various specific file formats like JPEG, TIFF, GIF, BMP, PSD, AI, FLA, and WMF. It discusses advantages and disadvantages of each in terms of uses, quality, file size, sharing capabilities, and more. It also covers topics like image capture methods, compression, and optimizing files.
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Development Pro-Forma for Print-Based Media.hannahw12
The document provides evaluations of various tasks completed as part of a digital graphic narrative development course. For a shape task, the student liked the gradients and details added to their panda image, and would improve gaps and add more strokes. For an improved shape task, the student preferred adding texture and changing eye color, and would smooth outlines. For a text-based task, the student liked techniques using tracking, layers, and clipping masks, and would add more interesting patterns.
The document contains evaluations of different graphic narrative development tasks completed by Hannah Woollaston, including a shape task where she drew a panda and evaluated what she liked and would improve. It also includes blank evaluation sections for rotocope, text-based, comic book, photography, and illustration tasks. Further sections include mood boards and idea generation, a project proposal, discussion of production methods, intended audience, and deadline. The document appears to be tracking Hannah's process of developing a digital graphic narrative project.
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2. Use this template to help you evaluate your project.
You should give specific details about your work.
You should provide both written and visual examples to explain your project.
You should find areas to praise in your work. Be specific about why you think they are
good or why you are proud of them.
You should also find areas that could be improved. Look for areas that you could make
better if you went back to them. Be specific about what you would improve.
Add additional slides as you need to. Don’t be restricted by what is here.
Any blank slides should be deleted before submission.
3. Does your final product reflect your
original intentions?
• When I started planning my book I wanted to create a
children's book which was cartoon-like but also looked
professional and had some good text along side it to help tell
the story. My planning, digital flat plans and storyboards are
all very similar to my final book because I used them all to
help during production, this helped me reflect my original
intentions of wanting it to look cartoon-like but also
professional in my final book because it meant I didn’t have
to rush and stress because I had already decided on a lot of
things in my planning/digital flat plans/storyboards. My
storyboard is very similar to my final book, it has the same
text and a similar page layout of objects/characters in the
book. I also stuck to the idea of doing the text and images on
separate pages which I did in the storyboard, I think sticking
to the storyboard helped me especially in the last week of
production to finish my book make it like my original
intentions (wanting it to look professional).
• I think that my digital flat plans are similar to my final book,
because they have the same text on and again a similar
layout, I did this by checking over and comparing my flat
plans and my book often, to make sure the final book was
shaping up to be like my original intentions. My digital flat
plans compare to my final book because when I was creating
my book I have stuck to the exact same layout of characters
and objects in my book to make sure it functioned properly
so my final book obviously does reflect my original intentions
in that sense.
Storyboard
Digital flat plans
4. Does your final product reflect your
original intentions?
• Also when looking at my digital flat plans and how
they compare with my final product I have found that
although I have stuck to using the same text and the
same idea of putting the text and images on the same
page I put the text on the left page and the images on
the right hand side, instead of the opposite which I did
in my flat plans, I changed this because I found that it
is better to read the text first and then look at the
images as the text helps to give more of an
understanding of what is going on in the image so it is
better to have that knowledge first.
• Also when looking at my planning to see how well it
reflects my original intentions I have seen that the text
on the mood board is not what I have used in my final
book, this is because when it came to do my final book
and put the text in I found that the text I had decided
on in my mood board did not suit the book and wasn’t
easy to read in long paragraphs so I changed it to a
new text to help my target audience to be able to read
and understand it.
Mood board text compared with
Final book text
The text above is
the text I decided
to use in my final
book, the text to
the side is my
mood board text,
as you can see
they are quite
different.
5. Does your final product reflect your
original intentions?
• When looking at my storyboard there are some differences
when compared to my final book because the characters
look different and I have changed some of the backgrounds
in them too, this is because when doing my final book I
realised that some of the characters needed their positions
changing to make them look more realistic, I did this using
perspective in the free transform section.
• I think my planning, such as my mood board also reflects my
original intentions because I talked through what I wanted
things to look like on them and what styles I liked or disliked,
e.g. illustration or digital graphic techniques so I stuck to this
when creating my final book because it made it easier
because less decisions needed to be made during production
so this is why it reflects my original intentions. On the mood
board opposite, you can see where I talk through and discuss
each style of illustration and what I like/dislike about them.
On this mood board you can see where
I talk through each style.
6. How well have you constructed your
images?
• I used texture in my book to construct my images, I
think this looks good and makes the objects look
more professional and realistic. I used this on the
houses in my book, in particular, the stick house
and the straw house. I did this by using the colour
selection tool and laying it over my rotoscoped
image.
• I also used colour in my book to construct my
images I think this makes the images better
because they’re more eye catching, the use of
colour in the book and makes it clearer for the
children to look at and enjoy I constructed the
images using colour because it is a typical code and
convention of modern children’s books, I have
constructed the images using colour by using the
colour overlay tool.
• I also think the visual appearance of the book is
effect in drawing the children in to read the book,
for example the front cover makes it very obvious
to see what the book is and because it has all the
objects and characters on it, it makes the visual
appearance of the book better.
On this object you
can see an example
of the use of texture
in my book. It looks
like little markings
on the house which
help to make it look
more realistic.
This image is
an example of
ho I have used
colour in my
book, this is
my cover page.
7. How well have you constructed your
images?
• When looking back over my images I think I have constructed them well, but I think the visual appearance
of certain objects could maybe be a bit better and sharper, one of the objects I think this about is my stick
house, I think that I could've made the edges slightly cleaner around the house so that it looks even more
realistic in the background. If I have the time towards the end of the project I would revisit this and go
round the edges with a rubber tool.
• I think I have constructed my images well with the use of texture as I mentioned previously, but when
looking back over my straw house image I have seen that there is a lot of texture on this object so if I
have the time to go back over this I would maybe reduce some of this but try to keep the realistic effect
that the texture provides.
• Finally, I think I have constructed my images well in my final book, I am pleased with how they look and I
think they look professional but also cartoon-like which is the effect I wanted. I think that my images are
constructed well because before I started to produce my final book I practiced my rotoscoping skills so
that I the final book was easier to do and also so that it looked better because I had more experience
producing rotoscoped objects.
8. How well have you used text to anchor
your images
• Obviously in my book I have incorporated text into it to
tell the story, in my book I have used two types, the
narrative part which is one a separate page to the images
and also I have used speech bubbles to tell the story from
the perspective of the pigs, they are on the same page as
the images. I think I have used the text to anchor images
well in my book.
• I have also used speech bubbles to anchor my text I think
this is the most successful way I have anchored the
images with text, the speech bubbles contain text that is
written from the pigs perspective this makes the book
more interactive for the reader and also makes them feel
like they’re more apart of the story, which makes it more
exciting for them as my target audience is only aged
between 4 and 6 years old.
• I have also used a narrative form of text where the text is
on the opposite side of the page to the images, this tells
the whole story and coincides with what is happening on
the page. A specific example of this would be on page 3
when the wolf is small in the back ground before they
realise it is coming after them, to accompany that page I
have written ‘then they spotted something’ at the end of
the page, this adds anticipation to the book and helps to
relate the text to the images better and vice versa. The
image opposite is an example of page 3 I mentioned and
the text below is the text I written to accompany that
page.
9. How well have you used text to anchor
your images
• I also feel I have used text to anchor images well because
both forms of text (narrative and speech bubbles)
basically explain what is happening in the image and this
is what I wanted them to do so they give an explanation
of what is happening in the image.
• I think I have used text to anchor my images well
because the text does coincide with what is happening
in the images well, therefore this helps to explain further
what is happening in the images and the story at that
point in the book.
• I have also used text to anchor my images by using
speech bubbles and and pages of text that are the same
colour as the pigs, this helps to make the story more
related to the images.
• Examples of speech bubbles and text can be found to
the side.
10. Is your product suitable for your
audience?
• When I started to plan my book and create my proposal I
decided that I wanted to target a particular age group of
children which was 4-6 years, I thought that this was an
appropriate age group for the story I had chosen. I think my
product is suitable for my audience because I have made
the images in the book very cartoon-like which will appeal
to my audience, I have also used bright colours in my book
which also appeals to that age group because it interests
them which will make them want to read on.
• Also, when doing my proposal, because I decided my target
audience was middle class families I think my book is
suitable for this audience because it is very similar to other
middle class children's books because I have used
rotoscoping which makes it look like a cartoon. At the side
of this I have included one of my main characters to show
how rotoscoping has given me the cartoon effect I wanted.
• As for content, I have also made the book more appropriate
for the audience as I have change the end in both my text
and images from the wolf being killed to the wolf just
burning his tail and running off, this makes it more
accessible to my audience and other younger audiences
which therefore would encourage my second target
audience, the parents, to buy it for them.
Example of the use of bright colours
Example of rotoscoping to achieve
cartoon-like effect.
11. Is your product suitable for your
audience?
• As my audience will be aged between 4-6 years old and from a middle
class, average family, I think my product will be suitable for them
because I have made it easy to distinguish between characters by
using different colours for their clothes and I have made the houses
very different styles so that my target audience can easily understand
the story while reading an looking at it.
• I also think my product is suitable for my audience because I have
created it so that the pages are interesting for the child to look at but
they are not too busy so that there is too much on them, for example
the backgrounds just consist of clouds and grass and also some trees,
and then it allows for the foregrounds to be created so that they are
more interesting, without being too much. An example of this would
be page 1, as the background is quite plain but the foreground is quite
busy as this page features all the pigs. This page is shown at the side.
• My product is suitable for my audience because used a minimal
amount of text to tell the story so it is not too much to take in, as my
target audience is only aged between 4-6 years old this is very
beneficial as it gives them practice with reading but not too much at a
time.
12. Is your product suitable for your
audience?
• Also to do with the context of my book I have told the story using speech bubbles as well as the text to
break it up, for the younger end of my TA, just reading the speech bubbles and looking at the pictures
would be enough to tell the story, I think this makes the book more suitable for my target audience
because the text is simple and tells the story well.
• I also think the font I have used also makes the book suitable for my target audience because it is clear and
simple to read so my target audience of 4-6 years old will be able to see, read and understand it easily.
• I also think my product is suitable for my target audience because it is only short and the majority of the
book is images, this is good for my target audience because it doesn’t make the story to long for them to
read and understand, it also ensures they don’t loose interest when half way through reading it.
13. What do you like/dislike about the
techniques you have used?
• To create my book I have used tools such as the polygon lasso tool to select areas to rotoscope, I liked this
technique because it enable me to select even small area to rotoscope however something I did not like
about the polygon lasso tool is the fact it was so easy to double click without meaning to and end up
making a selection before you have finished, another thing I didn’t like about the polygon lasso tool was
how it can take a while to select things especially if you are doing a large or intricate shape so can be
difficult to get done quickly especially if you’re working against a timetable. However another thing I did
like was you can feather out the line so that the shape you are working on looks more natural and not with
loads of harsh lines.
• Another tool which I used to create my book was the colour selection tool, I used this after I had made a
layer from the area I had selected using the polygon lasso tool, I liked this tool because it allowed you to
click on a colour from your original image or a rotoscoped part which you had already filled in with colour
and also because if you didn’t want it the exact same colour you can use the colour tool around so the
colour is still a similar shade but slightly different, this can be good for creating the illusion of shadows on
clothes as you can make the colour a little darker or lighter. The only thing I didn’t like about this tool is
sometimes it can be difficult or take a while to find the exact colour that is needed which isn’t good when
working on a timetable.
14. • Another technique I used was creating a stroke around each character this allowed
me to define characters more and if I wanted a particular character to stand out more
I could do this by putting a stroke around them, I liked the technique/tool because it
allowed you to change the opacity of the stroke so if you just wanted to make it look
like the characters had more depth to them, this was easy to do without making it too
dark and bold with an obvious stroke around it. Also I liked this technique because I
found it can look good when just put around certain areas of the character, like their
head, it also looked good just around their eyes as well. Something I disliked about
this technique was that, like the drop shadow tool, it can be difficult to control.
However another thing I did like was that it lets you change the colour of the stroke
so that it doesn’t make it as obvious and makes it easier to blend in, instead of just
putting a black stroke around a pink pig it allowed me to make it just a darker pink
just to make the pig more prominent on the page.
•Another tool I used was the opacity controller above where the layers are listed this
is a useful tool because it lets you turn down the opacity of each individual layer or
multiply ones at once, this makes it easier if you want to use the polygon lasso tool on
something underneath an area you have already rotoscoped because it lets you make
it see through so that you can easily do this, one thing I didn’t like about this tool is if
you didn’t label the layers with what they were it could be difficult to see what parts
had their opacity turned down, especially if you had multiple layers turned down, I
have placed a character at the side where I have turned the opacity down on a certain
layer just to show how it works and how it was helpful to create my book.
What do you like/dislike about the
techniques you have used?
Example of turning
the opacity down.
15. What do you like/dislike about the
techniques you have used?
•Another technique I used was using shapes to fill in small areas that I
may of missed with rotoscoping, I used the shape tool to do this. I usually
did this when I had finished doing rotoscoping and found that some
areas needed to be filled in or if some areas were too intricate to be
rotoscoped I would use a shape just to fill it in as I found they are quite
easy to move and make smaller to fit into the area you want them to go
in. One thing I didn’t like about this technique is that it is sometimes
quite difficult to distort it into a shape for certain areas and also you have
to make sure you have got the best type of shape you can to do this
otherwise it may not work well.
•Another technique I used in my book was creating shadows, this helped
to make my book look more realistic and helped to make the characters
and objects stand out on the page. I did this by using the tool, drop
shadow. I liked this tool because it was easy to find on Photoshop and
easy to use, I also liked it because it allows you to create a shadow which
can be really small or quite defined on the objects you are placing them
on and this made it easier to vary it on each page depending what was
happening or where the characters were. The only thing I didn’t like
about this tool/technique was that sometimes it could be quite hard to
control how big the shadow would be and that got even harder to do the
smaller you wanted the shadow. However another thing I did like was
that it allowed you to control the opacity of the shadow, this was good to
vary on each page too. Example of creating shadows at the side.
Example of the use of drop
shadows in my work
16. What do you like/dislike about how
your final product looks?
I am pleased with my final product and how it looks, I think I have met my plans
which were to make it cartoon-like but also professional and to make this style
consistent throughout the book, I think this is because I stuck to all my plans like my
flat plans, my storyboard and especially my timetable. There are also a some things
which I dislike like too, I think this is just down to production and needing to expand
on my skills.
One thing I like about how my final product looks is that it is very bright and
colourful which I did so that it would appeal to my target audience and make it more
like a modern children’s book, I have used bright green, blue and pink etc. to make it
appeal to both genders and also to make it more enjoyable for them.
Another thing I like is the text and images on separate pages, I think this makes it
easier for my target audience to take in and understand, especially the younger end
of this target audience, I also like this because it makes the pages less crowded and
more spaced out.
Also in my book liked the front cover, I think this is a good advert for what the book
is like inside, I used all my best rotoscoped pieces on the front, I also like it because I
used all my characters and houses on the front and I like how I have placed them so
they are central on the cover as well so it is immediately obvious what the book is
like without even reading the little, this may make it easier for the younger end of
my target audience to see what it is. Example of front cover at the side.
Front cover
17. • Also in my book I have used text which is in speech bubbles on the page with images on as well as the
text on the other pages. I like this because I feel like it would help the child to understand what is going on
in the image and it is also something to read while they are looking at the pictures, those speech bubbles
are also beneficial for the age group of children that may struggle with the other main part of the text so
this way they can still read the story without struggling with massive amount of text.
•Another thing I like about my book is the backgrounds, although I have stuck to just one main
background I have moved things around in it just to illustrate that we have changed areas or something
different is happening, I also like the backgrounds because I have included things such as trees and clouds
in them, which I have put drop shadows on which help to make the book more cartoon-like.
• In my book I did not like how some things looked and I have made an attempt to improve them but I
would make more if I have the time, one of these things would be the second to last scene where the wolf
is in the water pot, I found it very difficult to make them wolf blend into the water pot, in an attempt to
improve it I did try to distort the character to make it look like he was in the water more, if I have the time
this would be some thing I would go back over.
What do you like/dislike about how
your final product looks?
18. What do you like/dislike about how
your final product looks?
•Another thing I disliked about my book was the speech bubbles, not them being there but the shape of
them and how big they were on the page to fit the text in, this is something I have thought about
changing but I decided that they do need to be there and I am unable to shorten them because the
information that is in them is already brief and adds to the story.
•Also I wasn’t pleased with how the wolf looked so thin in the last scene as I would of like him to a bit
wider but I had to put him on an angle so he looked like he was getting away from the brick house and I
found there was no way I could change how wide he was but keep the layout of the scene and him the
same.
•Also in my book I like the fonts I have used, I think they are clear, bold and simple which is effective in the
book it, I also think the decision of making the font black was a good one because it makes it stand out
more on the page which I like.
•Also in my book I have used text which is in speech bubbles on the page with images on as well as the
text on the other pages. I like this because I feel like it would help the child to understand what is going on
in the image and it is also something to read while they are looking at the pictures, those speech bubbles
are also beneficial for the age group of children that may struggle with the other main part of the text so
this way they can still read the story without struggling with massive amount of text.
19. Why did you include the content you
used?
• I included the content I used such as images, fonts, effects and colours to fit
in with typical children’s book that my target audience would read, therefore
that would make it more appealing.
• I used the fonts that I did because in my plans I decided that I would use a
clear and simple text that would be easy for children to understand,
something like a serif font that is proven to be easier for children to
understand so I used a font that I felt would be appropriate for my story and
target audience. Example at the side, I have used the technique of changing
the tracking and leading amount in the text, this tool alters how spaced out
the letters and words are, I have spaced them out quite a bit so it is more
appropriate for the target audience.
• In my book I haven't really used effects, the only effect I have used is some
subtle gradients on things such as the roof of the stick house, the water pot
and the straw house. So mainly I used it on things I wanted to add more
depth to and also to them look more realistic because it helps them to look
more 3D like they should. Other effects I have used I have mentioned
previously such as the drop shadow and the stroke effects these also help to
do the same thing, e.g. make things more realistic by adding depth to them.
Example of water pot gradient at the side.
• The colours I have used in my book are quite bright and exaggerated in
brightness compared to real life e.g. I have used bright blue for the sky,
bright green for the grass and bright pink for the pig which wouldn’t
normally be seen, I did this so my book would be more eye-catching and fun
for children to read. In decided on the use of right colours in my book when I
was planning it and doing my research on other children’s books and when I
was doing this I discovered that many children’s book also use bright colours
to draw children and therefore making them want to read it so I decided that
I would follow this convention and use bright colours in mine too.
Water pot gradient example.
20. Why did you include the content you
used?
• In my book I obviously used images to tell the story, this is a typical convention of children’s books, when doing
my book research I found that often the pictures are big and take up a lot of room on the pages and so I thought
I would do this too instead of just doing small images, this also fits in with my target audience because it is
easier for them to have big clear scenes to look at. In my book the images are all very happy and colourful, even
the ones which are a bit more sinister e.g. the wolf blowing the houses down and the wolf burning his tail they
are all still colourful and detailed, I did this is so the book isn’t too upsetting for the younger end of my target
audience.
• I included detailed images but they are also quite simple too, for example the pages aren’t really empty
because I have filled them with the characters and houses in the foreground but then I found the background
was quite empty because I had put was happening in the foreground so it was easier to understand so I
thought I would make the background by adding other things such as trees, I like the pages because of this
because they are detailed but are also quite cartoon-like as well because of the basic shapes used.
21. What signs, symbols or codes have
your used in your work?
• In my book I have found version symbols in my work, one
of these symbols is down to character design in my book.
The pigs in my book are all piglets, so this connotes them
being vulnerable and not able to fend for themselves yet
but they are doing anyway, this then fits into the story
well and makes them seem even more vulnerable when
the wolf comes along.
• I have created the images in my book so that the location
is in the countryside, in a very natural environment with
lots of trees etc. in a very traditional environment this
could be a reflection of old times when the book was set
the fact it is set in the countryside also fits in well with
the fact the animals are all animals you would expect to
find in the countryside, which also educates the children
about animals when they read the book. Example of
background opposite.
Example of background.
22. What signs, symbols or codes have
your used in your work?
• I have already mentioned colour but I realise that a lot of
the colours I have used connote the feelings in the book I
wanted to come across to my target audience. For example
throughout the book I have bright colours, for both the sky
and the grass etc. to show how the pigs are happy,
especially in the scene when the pigs have built their stick
and straw houses , then when the pigs are in the brick
house with the wolf I haven't brightened the inside of the
house I have left it quite dark to connote the feeling I want
to be shown which was that the pigs seemed scared.
• The style I have created in my work is cartoon-like and
professional, I have done this by creating pigs which don’t
look like normal pigs, I have created my own particular style
in my work but also a style which still follows the typical
codes and conventions of a children's book for my target
audience age range. Another way I have created my own
style through the book is taking inspiration from other
versions of the three little pigs such as the Disney versions
and changing them so that they fit into my own style and
story, I feel my characters suit a modern version better than
the older versions because they fit in better to the back
grounds I have created and the style I have gone for. I have
placed the character images I worked from opposite, next
to my final character image to show how I have adapted
them.
• I have also used tone in my book to create certain signs,
symbols and codes I have used tone in my book connote to
my audience certain feelings and signs throughout the
Final character. Original image.
23. What representations can be found in
your work?
• My book is quite an old story so some of the representations can
be quite old and dated, in particular the attitudes towards gender
in my story. For instance, all the characters in my book are male,
this shows how when the story was set the attitude towards men
and women were completely different and what they were
capable of, for example building houses. The male characters in
my book are connoted as capable and strong to build their own
houses and the wolf is also shown as male and is connoted as
scary and powerful and I have positioned him in a stance which
reflects that (example opposite).
• As for women, they are not represented in my book at all apart
from being spoken about in the first scene and even then she is
connoted as a very motherly and caring and advises them to
move out so they can grow out, this is a typical representation of
mothers in old stories and she is also represented to be the
person who looks after the children, this is a traditional
representation and would suggest that, that was a women's job
when this was written. Children are represented in my work as
they feature in my story as pigs, the children in my book are
represented as vulnerable, I have done this by showing them
running away from the wolf, I have also represented them as very
determined, I have represented them as this by showing them
building their houses, you can see this on page one of my book.
(Example opposite).
Example of wolf in
stance.
Page one, (example of mother being spoken
about)
24. What representations can be found in
your work?
• My work doesn’t show any social groups because all the pigs in my story are from the same family and
we don’t know much about the social group or class also the wolf’s social class is unknown because we
don’t know much about its life because this story is a single-strand narrative where the only story line is
what is happening as the main part of the story I have done this so it is easier for my target audience to
understand.
• Religion is not in my work, also like race, I have chosen to leave this out as it is not in the traditional story
or my adaptation of it. I think it wouldn’t add anything to my story anyway and the representation of
religion could be confusing for my target audience.
25. What representations can be found in
your work?
• From all of this information, it is quite obvious there
is a lack of character types in this story I think this
creates its own representation, particularly of what
attitudes where like when the story was written
especially to do with gender stereotypes as women
are not featured in the original adaptation of my
story, so I did not put them in mine, there is nothing
to say that the pigs were all male, it is simply just a
conclusion that is made, I think this says a lot about
representations in my story.
• My work doesn’t contain any races as I have just left
that part as the original adaptation, and kept the
characters as pigs and a wolf, this makes the story
more accessible to everyone, whatever race because
it is neutral towards that because it doesn't show any
races so isn't biased towards anyone.
• My work does feature different ages as the wolf is
older than the pigs this shows different age groups in
my book, and also helps the represent the pigs as
vulnerable and the wolf as powerful. (examples of
powerful wolf/ Vulnerable pig opposite)
Examples of
powerful wolf/
vulnerable pigs
26. What style have you employed in your
products?
• If feel that my visual style in my book in cartoon-like
but also professional, I am pleased with visual style I
have created because I feel that I have created
something that is enjoyable for the children to read
but also is professional enough to accurately tell and
show the story.
• I also chose the visual style of making it look
professional so that it fitted In with the typical codes
and conventions of other children’s books because
that is a well known trusted style and parents
associating that style with my book would
encourage them to buy it.
• I also chose to make it cartoon-like because that
would make it more appealing to the children
because the characters are simple and clear to
understand and see and are also bright and
colourful which draws them in.
• Examples of this professional yet cartoon-like visual
style opposite.
27. What style have you employed in your
products?
• Influences for my book were other children’s books which I have researched such as the ‘Mr
Tiger Goes Wild’ book that I looked at previously to starting my book, the style of this book is
quite cartoon-like, in particular the cover, the leaves and bushes on the front. I think this is
effect because it is enough detail to show what they are without being over detailed. I wanted
to try this in my book because I thought it was quite effective.
• Another influence for the visual style in my book is the original Disney three little pigs because
they are quite cartoon-like which was the style which I wanted but I changed this to fit in with
my individual style in the book and to fit in with my other images.
28. What were the strengths and weaknesses
of the pre-production and planning
• My pre-production and planning had many strengths but also had some weaknesses too, I found that
the planning helped me more than I thought it would, especially in the last week when I was putting
everything together I could easily reference my plans and storyboard to see what I needed to do what I
needed to do to end up with the final book I wanted. The timetable section of my planning also helped
because it allowed me to check up on myself and to see where I needed to be each lesson I feel this
helped me to keep on top of the work because I knew what I needed to be doing. I think throughout
the pre-production and the production I managed my time well, I think this I because I relied heavily on
my timetable, however I think the weakness with that was I set myself too much to do each day
without realising how long it would take to do each page so I did find myself behind my schedule at
some points during the project because of this, but I still ended up with enough time to check
everything in the end.
• I think that my research helped me because it enabled me to see some of the typical codes and
conventions of other children’s books before starting my own so I was able to incorporate some of that
into my own, e.g. cartoon-like characters and writing and images on separate pages. The research also
helped me to see how illustrators worked when doing the illustrating for children’s books and how they
managed their time, this then helped me to use methods like that when doing my own book, I really
think that this helped me a lot when creating my book.
29. What were the strengths and weaknesses
of the pre-production and planning
• I also think that the timetable helped me manage my time throughout the project but the storyboards
also did because they allowed me to get things done quicker, it also helped to make the whole process
of creating the book a lot easier and quicker. A weakness of these plans is that some I was so focused on
what it said to do in my plans I didn’t leave much room for changing thing as I was creating my book to
make it look better, however I had enough time at the end to go over these things and change them if I
thought it was needed.
• There were also many strengths in the storyboard and flat plans as they helped me with putting the text
into my book on the last few days of production as I had decided on the text when creating the
storyboard and flat plans it saved me from rushing to do it on the last few days of production. I would
say a weakness of these plans was the fact they were quite difficult to show what you wanted your final
book to look like on because the characters looked different to what you wanted, however I did find that
they were good for deciding on layouts for my book specifically the second to last page when I had to fit
all my characters in, the storyboard and flat plans were good for deciding on the placement of the
characters so I didn’t have to worry when I came to it in my actual book.
30. Historical and cultural context
• Obviously the three little pigs is an old story, so a lot of work has come
before mine, when comparing my book to some older copies, I would
say mine is a different take on the story, for example a lot of the older
copies I have seen, show the wolf being killed and eaten by the pigs in
the end, however with mine I have left it so that the wolf only burns his
tail, this shows how attitudes have changed to what children should
read and see. (example of how I have changed the story to suit my
newer more modern target audience)
• Also I found that a lot of older versions were more visually detailed and
the drawings were very intricate as when the book was first written
that was a popular style whereas, comparing this with mine, my book is
more cartoon-like because this is more of a popular style now as
children like to see shapes rather than extremely detailed drawings,
you can see some examples of old style three little pig drawing on my
mood board which I created as part of my planning, the historical
context of the three little pigs and how it used to be told contrasts with
newer versions of the story, also on the mood board. (Example of this
section of the mood board).
• Also when comparing my work to versions that have come before, they
are created using quite dark and basic everyday colours this shows how
when these copies were created they were done in a time when
children’s books were very basic. Mine however, is very bright and
basically brighter colours of the colour it would be in real life, modern
books that are created like this are more engaging for the child to look
at and read than older, historical copies.
Example to show wolf only
burning his tail.
Example of of
illustration
planning- mood
board.
31. • The Three Little Pigs is obviously a very popular story
and therefore a lot of similar copies will of existed in the
past, a version which is similar to mine would be Walt
Disney’s Three Little Pigs by Barbara Brenner. This book
was created in 1933 and is one of the first which was
created in a similar style to mine, because its very
cartoon-like, this book heavily influenced my own book
because I liked the use of bright colours and the visual
style in it. Example of this book opposite.
• A current product that exists which is similar to mine
would be The Three Little Pigs by Steven Guarnaccia
which was created in 2010, the style of his book has very
bright colours and cartoon-like, almost abstract drawing
in, which is similar to my style, this book also changes
the end from the wolf being killed to make it more
appropriate for children in this time and so it will be
better accepted in the culture in which we have now.
Example of this book opposite.
Historical and cultural context
Walt Disney’s Three
Little Pigs by Barbara
Brenner.
The Three Little Pigs:
An architectural tale
by Steven Guarnaccia