Integrating 3D and 2D computer generated imagery for the comics medium

Advances in 3D computer technology have led to aesthetic experimentation within the comics medium. Comic creators have produced comic books done entirely with 3D models that are then assembled digitally for the printed page. However, in using these 3D objects in a comic format, the creators have developed art styles that do not adhere to the paradigms established by this traditionally 2D medium. More successful results can be achieved by integrating 3D computer generated imagery with traditional 2D imagery, rather than replacing it. This thesis develops a method of combining rendered 3D models with 2D vector graphics to create a comic book art style that is consistent with the traditional medium, while still taking advantage of the new technology

Scripting allographs

Scripting Allographs* examines typographic principles and their pervasive impact on ways of seeing and making through design. This body of work demonstrates the many faces of typography and type design and the way they inform allographic thinking. It employs type as the primary tool and medium for scripting possibilities, embracing their differences, idiosyncrasies, and imperfections. Beginning with a focus on close observation of small details and ending with an approach that invites and celebrates variability, this thesis offers a glimpse into a design practice from the lens of a typographer, type designer, and educator

Spatialising Illustration

As an illustrator I reflect on human behaviour and the psychological effects of space through drawing. I use people I have met and whose lives intrigue me. Taking a woman I know, I observe and draw. ‘She sat at the table in the sparse kitchen. It had belonged to her grandmother, and her mother before her.’ (Regan, 2012) This quote is taken from the illustrated book I have created ‘The Set,' it is significant in introducing what I discovered about space. Space is not physical and universal. It is personal and formed in the mind. ‘The Set’ explores a woman and the spaces she inhabits. I visualise and try to make sense of this by drawing

Tricksters from Three Folklore Traditions

The purpose of this study was to see how folktale tricksters are portrayed in children’s literature and to see if the portrayals are culturally authentic. The study was limited to three specific tricksters from three different non-western cultures. In the cross case analysis, the following five themes emerged: 1) authors who do prior research about the cultures of origin produce more culturally authentic children’s books; 2) the occurrence of overlapping story devices; 3) a moral thread of misbehavior being punished and intelligence being rewarded; 4) the stories set in Africa often perpetuate African stereotypes; 5) and the spiritual and supernatural aspects of the tricksters were minimized. Educational implications of this study include: 1) educators should examine the moral lessons in folktales; 2) there are a variety instructional uses of folktales; 3) there are dangers in using inauthentic cultural material; 4) and educators should look at cultural material critically and research them for accuracy

The Best Children\u27s Books of the Year [2020 edition]

Includes more than 600 titles chosen by the Children’s Book Committee as the best of the best published in 2019. In choosing books for the annual list, committee members consider literary quality and excellence of presentation as well as the potential emotional impact of the books on young readers. Other criteria include credibility of characterization and plot, authenticity of time and place, age suitability, positive treatment of ethnic and religious differences, and the absence of stereotypes.https://educate.bankstreet.edu/ccl/1010/thumbnail.jp

Os dez anõezinhos da tia verde-água: da leitura à edição

Mestrado em Estudos EditoriaisThe present work intends to make a brief reflection about traditional oral tale in Portugal. A special emphasis was placed on the traditional tale The Ten Magic Dwarves of Aunt Aquamarine, including the study of part of its editorial history in three editions of the tale. These editions were made by three different publishers, in different periods of time and for that reason we can see the evolution that occurred in the editorial process. The last aim of this work was to present a new editorial proposal with a new and updated version of the story present in the tale. We concluded that the editorial market for Children Literature in Portugal is growing in the last decades. Today, a new generation of authors is giving renovated attention to it in close collaboration with other professionals, like designers and illustrators. In the basis of Children Literature was the traditional oral tales which carry symbols and myths of the past generations. These tales are often rewritten into new versions, with adaptations and updates that may convert them into Children’s Literature or into Adult Literature. Finally, editorial options, such as book size, illustrations or typefaces, also help to define the target audience of a publication. The edition process of a publication has several phases. Starting on a manuscript, which is revised several times, passing through all the book creation chain. Options taken until the book release to the market including not only design decisions, but also marketing and management decisions. Finally, the result of this work is the mockup of a small publication with the titled Did Aunt Aquamarine lend only ten magic dwarves to help? Its intention was to make an updated version which reflected a renovated look over the traditional oral tale under study in this work.O presente trabalho tem como objetivo fazer uma breve reflexão sobre o conto tradicional em Portugal. Foi realizado o estudo do conto tradicional Os dez anõezinhos da Tia Verde-Água com principal ênfase nos aspetos editoriais de três versões diferentes, de três editoras diferentes e publicadas em diferentes períodos de tempo. Por fim, o último objetivo deste trabalho foi apresentar uma proposta editorial com uma nova versão da história presente no conto. Concluímos que o mercado editorial para a Literatura Infantojuvenil em Portugal continua a crescer. Hoje, uma nova geração de autores está a prestar atenção renovada a este campo editorial, em estreita colaboração com profissionais como designers e ilustradores. Na base da Literatura Infantojuvenil estiveram os contos tradicionais que carregam consigo símbolos e mitos de gerações passadas. Esses contos são muitas vezes reescritos, com adaptações e atualizações que podem convertê-los em Literatura Infantojuvenil ou em Literatura para Adultos. Finalmente, opções editoriais, como tamanho do livro, ilustrações ou tipos de letra, também ajudam a definir o público-alvo de uma publicação. O processo de edição de uma publicação tem várias fases. Começando por um original, que após aceitação e revisão, passa por toda a cadeia de edição até chegar ao leitor. As opções tomadas até ao lançamento do livro incluem não apenas decisões de design, mas também decisões de marketing e gestão. Por fim, o resultado deste trabalho é a maqueta de uma pequena publicação com o título Did Aunt Aquamarine lend only ten magic dwarves to help? Cumprindo assim o objetivo de fazer uma nova versão que refletisse um olhar renovado sobre o conto oral em estudo neste trabalho

A semiotic contextualisation of South African postage stamps and letters received between 1996 and 1999

The purpose of this research is to use semiotic and narrative theory to unpack the layered meanings related to postage stamps and handwritten letters and explore their similarities. The theories of Peirce on icon, index and symbol, provide a systematic framework from which to explore the parallel narratives in a personal collection of postage stamps and letters received between 1996 and 1999. Postage stamps and letters are sent as a unit, allowing their public and private narratives to arrive in parallel. Both the practical and theoretical components of this research explore these narratives, treating letters and postage stamps as both personal and impersonal objects of communication. They are archival objects of national and personal history and of an era that is slowly fading. This research does not reinforce the different modes of communication offered by postage stamps and letters, but rather unpacks and compares, from a personal perspective, their many layers of meaning.Art History, Visual Arts and MusicologyM.A. (Visual Arts