Friday, December 17, 2010

Newsletter Reflection and Critique

Throughout the course on Digital Graphics, I have learned to utilize text, space, and graphics in a way that is aesthetically pleasing to the eye and offers good readability.  From the beginning assignment and readings on using contrast, repetition, alignment, and proximity, I have learned about the principles of creating a graphic design that catches the viewer’s attention.  As we moved to the Week 4 assignment of creating a newsletter, I employed a template that was available through Microsoft Office Publisher.  I had never used a template to create a newsletter, so it was all new to me.  I discovered that since the layout is set up, it is not necessary to add page numbers or headings on successive pages.  The color scheme may be selected, as well as the fonts used throughout the newsletter.  I did have difficulty with the template allowing some of my text and graphics in headings and title boxes.  Some reverted back to the example when I attempted to save my work in PDF.  I was finally able to adjust the size so that the graphics and text were accepted, and most other input was relatively simple.  Uploading pictures was easy with Picasa 3 which allows me to edit pictures that I wish to use.  Inserting graphics clip art was also easy through Microsoft Office Word. 
Other print and design concepts that needed to be incorporated included the use of white space, cutlines, justification, attention to larger print for titles and various styles of type.  According to the article by Dr. Yearwood (2009), these elements are all important for the readability of the newsletter.  Additionally, research reveals that “Yearwood’s law of mental dynamics,” which asserts that the brain is always seeking shortcuts, can be tested in reading text with different text types.  Apparently the brain finds readability easier with serif texts, rather than sans serif. [1]
Other considerations for the newsletter included determining the audience and purpose. According to an article on Desktop Publishing, some of the things to consider along with audience are interests, age, and gender, among other things.[2]  From the time that I created my logo, I knew my newsletter’s audience and purpose.  I am writing to a teen audience with motivation as my purpose.  Based on research, I am addressing school, community, seasonal, and family interests.  With these in mind, I am also encouraging student authors to contribute to the newsletter.
In evaluating the appearance and readability of my newsletter, it is necessary to consider the overall appearance, audience, format, content, layout, and product. [3]  In critique of these areas, I would say that the overall appearance, content, layout and product are aligned with the audience and purpose.  I could have improved on the format by addressing justification and giving more attention to text style and type.  Though the fonts were part of the template, I realize that I could have edited those for a more unique design.


[1] Yearwood, J. (2009, July) Basis elements of page design, p. 11.
[2] Lamb, A. (2005). Planning newsletters. Retrieved from http://eduscapes.com/sessions/publishing/planning.htm
[3] Lamb, A. (2005). Evaluating newsletters. Retrieved from http://eduscapes.com/sessions/publishing/evaluating.htm

Sunday, December 5, 2010

Animation

The Yoemen are going to State!  Congratulations and GO YOE!

Sunday, November 21, 2010

The Use of Graphic Design in Early Manuscripts for EDLD 5366

The Book of Kells online at http://www.sacred-texts.com/neu/celt/bok/index.htm offers a glimpse of the Gospel illustrated with Celtic motifs.  This is accomplished through the use of scanned high resolution images.  My first impression of the ninth century works illustrated here is how elaborate and colorful the works are.  In viewing the many plates that combine the primary colors of blue, red and yellow to create various other hues, my eyes are quickly drawn to the elaborate designs on every plate.  I have always loved the design in Celtic crosses, and such designs are seen throughout the Book of Kells. 
The plates contain examples of all four principles of design.  The contrasts can be seen between the figures of people depicted and the borders; the use of bold color on lighter backgrounds; and straight versus curved lines. Repetition is evident in the symmetry that is obvious in every plate.  The artists offer the same designs on opposite sides and/or corners of the borders; colors are also repeated throughout all of the works.  The combination of reds and blues to create purple is repeated in various examples, and yellow is consistently used as an outline in borders.  Alignment is obvious in the symmetry that every example contains.  The borders frame and center the images, and even when two people are portrayed, as The Virgin and Child, the balance is pleasing to the eye.   Proximity is achieved as figures are contained within the elaborate borders, and identical figures are often visible on opposite sides or corners of the plates. 
Techniques the artists employed to help us understand the importance of this amazing manuscript include symbolism, the use of color, elaborate design, continuity of design theme across different works, and most of all the portrayal of illustrations to accompany what many believe to be the greatest book ever written.