Digital Illustration ILL 3030 01 Fall 2009 James O’Brien, instructor
Meeting time: Thursdays, 1—6pm, Room 231 Office hours: Room 322, Thursdays and Fridays, noon—1pm or by appointment E-mail: [email protected]
Prerequisite Introduction to Illustration (ILL-2000)
Course description This course examines the use of the computer as a medium and as an additional tool for illustrators. Through projects, discussions, and lectures, a variety of digital techniques and working methods will be explored as well as a review of the historical development and current directions of digital illustration. Other topics will include file management, preparation of art for clients, saving and organizing digital files, preparing images for web use, and printing for exhibit. Similar to core illustration studio classes, assignments will have an emphasis on concept, creativity, communication, technical achievement, and presentation.
Coursework will consist of a series of assigned projects and in-class exercises. Assignments will follow a flexible path from simple to more complex as the term develops. Exploration and experimentation will be encouraged along with refinement of familiar methods and techniques. Class time will be used for individual and group critiques and work time on exercises and assignments. Coursework will include individual projects with in-class reviews and critiques and discussion of preliminary concepts, concept development, and final execution.
Learning objectives • incorporate the digital medium into the illustration process. • develop and refine digital image-making techniques. • become more familiar with digital image-making applications and equipment. • become more familiar with the requirements needed for the professional delivery and presentation of digital art. • reinforce illustration skills and process. • develop a better understanding of the digital medium’s history and development.
Teaching methodology There will be a series of assigned projects throughout the course including in-class assignments as well as homework assignments. Coursework will follow a flexible path from simple to more complex assignments. Exploration and experimentation are encouraged along with refinement of familiar methods and techniques. Class time will be used for individual and group critiques and work time on exercises and assignments. Coursework will include a number of individual projects with in-class critique and discussion of preliminary concepts, concept development, and final execution. Student work will be evaluated on presentation and craftsmanship, clarity of intention, inventiveness, organization and interpretation of directions, individual effort, and class participation.
Student work will be graded using a letter grade system and will be evaluated on presentation and craftsmanship, clarity of intention, inventiveness, organization and interpretation of directions, individual effort, attendance, and class participation.
Method of assessment • presentation and craftsmanship • clarity of intention • inventiveness • organization and interpretation of directions • individual effort • class participation
Materials and supplies • access to a computer and software during class time and for homework. • personal storage device for backup (jump drive, external HD, web storage, etc.) • sketchbook journal and miscellaneous drawing and painting supplies. • digital camera (a mobile phone camera is sufficient for research but not for images used in final art). • mounting supplies (museum board, adhesive, x-acto knife, straight-edge, etc.).
Attendance policy Attendance is mandatory. Roll will be taken at the beginning of each class period. You are expected to be present for the duration of the class period. Excessive absences will affect your final grade. Tardy arrivals or early departures from class will be noted. Two absences will result in your final course grade being dropped one full letter grade (i.e., "B" to "C"). Three absences may result in your final course grade being dropped two full letter grades. Late arrivals and/or early departures totaling three will be the equivalent of one absence. If you arrive late, it is your responsibility to let me know that you are in class so that I can mark you as tardy but present in my attendance log, otherwise an absence mark will remain.
Student responsibilities • All course work and assignments must be turned in on time and completed to the best of your ability. Late work will receive a lower grade, by at least one full letter grade (i.e., "B" to "C"). No late work will be accepted after one week following the original due date. • Students are expected to participate and contribute to class critiques. Class participation will considered when calculating your final grade for the course. • Students are expected to take notes during class demonstrations and discussions and maintain these notes along with class handouts and assignment sheets. • No food during class time. Beverages are allowed according to classroom and computer lab rules. • Cell phones need to be turned off during class time. Muting is not allowed. No calls are to be made or received during work sessions. • No email and web browsing (unless for project research). Each class session will have two 15 minute breaks, this is when you will be able to use your phone and check email.
Special needs If you have a learning disability or have any special needs, feel free to speak to me during my office hours so that we can make arrangements for accommodations. Additionally, the MCAD Learning Center tutors are available for help with software as well as with time management.
Instructor's bio I have taught design and illustration courses at MCAD since 1998, when I initiated the Digital Illustration curriculum for the Illustration Department. I have worked as a practicing illustrator since 1989 working with a wide range of clients including Microsoft, American Express, Sears, Target Stores, Delta Airlines, Hewlett-Packard, McGraw-Hill, Scholastic Press, Smithsonian, Business Week, PC Magazine, Entertainment Weekly, LA Times, and The New York Times. My work has been recognized by The Society of Illustrators, American Illustration, AIGA, Communication Arts, PRINT, The Society of Illustrators of Los Angeles, The Society of Publication Designers, Step-by-Step Graphics, Creative Quarterly, Luezner’s Archive, and 3X3 Magazine. I hold a BFA in Graphic Design from MCAD (1989), an MA in Illustration from Syracuse University (2006), and an MFA in Illustration from the University of Hartford (2008).
You can see examples of my work at: http://jamesobrien.us/portfolio http://www.theispot.com/artist/obrien http://illoz.com/jamesobrien
Resources and readings Websites • Adobe Design Center "Design Center - Galleries, articles and tips on motion and interactive design." Adobe. Web. 09 Aug. 2009.
Books • The Complete Guide to Digital Illustration: Caplin, Steve, Adam Banks, and Nigel Holmes. The Complete Guide to Digital Illustration. New York: Watson-Guptill, 2003. Print. • Illustrations with Photoshop Illustrations with Photoshop a designer's notebook. Beijing: O'Reilly, 2005. Print. • Digital Illustration Zeegen, Lawrence. Digital Illustration A Masterclass in Creative Image-making. Switzerland: RotoVision, 2005. Print. • Creative Photoshop CS4 Lea, Derek. Creative Photoshop CS4: Digital Illustration and Art Techniques. Focal, 2009. Print. • Real World Illustrator CS4: Golding, Mordy. Real World Adobe Illustrator CS4. Peachpit, 2008. Print. • The Adobe Illustrator CS4 Wow! Book Steuer, Sharon. The Adobe Illustrator CS4 Wow! Book. Peachpit, 2009. Print. • Secrets of Digital Illustration Zeegen, Lawrence. Secrets of Digital Illustration. Switzerland: RotoVision, 2007. Print. • The Principles of Uncertainty: Kalman, Maira. The Principles of Uncertainty. New York: Penguin HC, The, 2007. Print. • Dialogue: the fine art of conversation Murphy, Mark. Dialogue: The fine art of conversation. Murphy Design Inc., 2004. Print. • Thinking Visually Wigan, Mark. Basics Illustration Thinking Visually (Basic Illustration). Grand Rapids: AVA, 2006. Print. • The Shape of Content Shahn, Ben. The Shape of Content (The Charles Eliot Norton Lectures). New York: Harvard UP, 1992. Print. • Visually Thinking Arnheim, Rudolf. Visual Thinking. New York: University of California, 2004. Print. • Illustration: a Theoretical and Contextual Perspective Male, Alan. Illustration a theoretical and contextual perspective. Lausanne: AVA Academia, Thames & Hudson [distributor], 2007. Print. • Illustration: A Visual History Heller, Steven, and Seymour Chwast. Illustration: A Visual History. Abrams, 2008. Print. • Innovators of American Illustration Heller, Steven, ed. Innovators of American illustration. New York: Van Nostrand Reinhold, 1986. Print. • The Illustrator in America Reed, Walt. The Illustrator in America 1860-2000. New York: Collins Design, 2003. Print. • All the Art That’s Fit to Print (And Some That Wasn’t) Jerelle, Kraus. All the Art That's Fit to Print (And Some That Wasn't): Inside the New York Times Op-Ed Page. Columbia UP, 2008. Print. • Drawing is Thinking: Glaser, Milton. Drawing is Thinking. Overlook Hardcover, 2008. Print. • An Illustrated Life: Gregory, Danny. An Illustrated life drawing inspiration from the private sketchbooks of artists, illustrators and designers. Cincinnati, Ohio: HOW Books, 2008. Print. • Fingerprint: Associates, Chen Design. Fingerprint The Art of Using Handmade Elements in Graphic Design. New York: How Books, 2006. Print. • Illustration Now! Illustration Now! 25th ed. Taschen, 2008. Print. • Illusive Illusive Contemporary Illustration And Its Context. New York: Gestalten Verlag, 2007. Print. • Illustration Play Victionary. Illustration Play. Victionary, 2007. Print. • Graphic Storytelling and Visual Narrative Eisner, Will. Graphic Storytelling and Visual Narrative. New York: W. W. Norton, 2008. Print. • Big Fat Little Lit Art, Spiegelman, and Mouly Francoise, eds. Big Fat Little Lit (Picture Puffin Books). New York: Puffin, 2006. Print. • Comics, Comix & Graphic Novels Sabin, Roger. Comics, Comix & Graphic Novels A History Of Comic Art. New York: Phaidon, 2001. Print. • Graphic Novels Gravett, Paul. Graphic Novels Everything You Need to Know. New York: Collins Design, 2005. Print. • The Arrival: Tan, Shaun. Arrival. New York: Arthur A. Levine Books, 2007. Print. • Forecast Blechman, Nicholas. Forecast. New York: Princeton Architectural, 2008. Print. • Illustrating Children’s Books Salisbury, Martin. Illustrating Children's Books Creating Pictures for Publication. Danbury: Barron's Educational Series, 2004. Print. • A Treasury of the Great Children’s Book Illustrators Meyer, Susan E. A Treasury of the Great Children's Book Illustrators. New York: Harry N. Abrams, Inc.,, 1997. Print. • Play Pen Salisbury, Martin. Play Pen New Children's Book Illustration. New York: Laurence King, 2007. Print. • Show and Tell Evans, Dilys. Show and Tell The Fine Art of Picture Book Illustration. New York: Chronicle Books, 2008. Print. • How Picturebooks Work Nikolajeva, M. How Picturebooks Work (Children's Literature and Culture). New York: Routledge, 2006. Print. • Inside the Business of Illustration: Heller, Steven, and Marshall Arisman, eds. Inside the Business of Illustration. New York: Allworth, 2004. Print. • Graphic Artists Guild Handbook:Graphic Artists Guild. Graphic Artists Guild Handbook: Pricing & Ethical Guidelines (Graphic Artists Guild Handbook: Pricing & Ethical Guidelines). 12th ed. Greenwich: Graphic Artists Guild, 2007. Print.
Periodicals • 3x3 • Creative Quarterly • illo • Illustration • How • PRINT • Communication Arts • Computer Arts • Photoshop User • Photoshop Creative • Advanced Photoshop • Layers • Imagine FX
Class guidelines • There are eighteen workstations in the lab. It's a good idea to arrive early to make sure you get a workstation that's functioning properly. If the computer you are working at is having problems, try restarting and running the cleanup operation. This resets the software and system to the school's default settings. If this doesn't work, let me know and I will contact a tech. They usually respond fairly quickly. • Clean up any messes you make. Let me know if there’s a spill on any of the computer equipment so I can have it taken care of right away. • Make sure the volume setting on your workstation is low or muted. If you are listening to any music while you are working, use headphones at moderate volume so that you can still hear me if I need to get your attention and you're not disrupting anyone else's concentration. • Checking email and internet browsing is not allowed during class time unless we are on a break or you are doing research for your project. • Our class time is to be used for our assignments only and not for other projects from other classes. • You will be expected to do a bulk of your work during class time although you will also need to have access to computer time outside of class for working on your projects. Most of each class period will be devoted to studio work time unless we are having a lecture, demo, or critique. You will be required to work in the classroom during studio work time. Any sketching required for an assignment can be done elsewhere however check with me first. • We will be working chiefly with Adobe’s Creative Suite. Other applications will be discussed and their use will be optional. • Hand in your final images using the following naming method: last name, first initial, underscore, assignment, format extension. Ex: jobrien_art.jpg (format extension will vary) • Prior to each class critique, you will need to place a copy of this file onto our class server (login instructions can be found on the school's intranet in the computer help resources section). There will be a Drop Box folder on the server. If you are required to hand in more than one file for an assignment, place all of the files into one folder and place a copy of this folder in the class server Drop Box. The Drop Box is write-only, meaning you won’t be able open it, but you will be allowed to copy your file to it. When you copy your file to the Drop Box, you will receive a message that says, “You can put items into “Drop Box”, but you won’t be able to see them. Do you want to continue?” This just means you don’t have permission to open the Drop Box folder. Click the OK button and then let me know if you want me to verify that your file is there. • Save, save, save... backup, backup, backup... save and make a backup copy or your file while you are working, as often as you can. I usually save and backup every few minutes or when I am pausing after a series of tasks. Save a backup copy of your file to an external drive as you work. When you are finished with the image, burn a backup copy of all of your assignment files onto a cd. This could include scanned sketches, pdf assignment file, reference images, preliminary image files, and final image file. • The school intranet's computer help resources section has a wealth of information with answers to many questions you may have about servers, storage, scanning, printing, and more. Also use the help menu within the application you are using to find answers to application specific questions. And of course if you have any trouble finding an answer, feel free to ask me either during class or outside of class, by email or phone. Another resource is Adobe's website, specifically their Adobe Studio section: (http://www.adobe.com/studio/main.html). Click on the tips & tutorials link. • This class is enhanced meaning we have a Blackboard online classroom that will contain all of the course materials including assignment sheets making this a paperless class. You can print any course material included in our Blackboard site (assignment sheet, lecture, etc.) just as you can print any website page you are visiting, just choose Print from your browser’s file menu. • The online classroom also has a virtual collaboration classroom that we can use for a class critique. There is also a discussion board where we can hold general discussions and also post images for critique. Plus, you will also be able to view your grades for this class online. • Logging into the online classroom is the same as logging into the class server. Be sure to let me know if you have any problems logging in. Digital Illustration ILL 3030 01 Fall 2009 James O’Brien, instructor
Meeting time: Thursdays, 1—6pm, Room 231 Office hours: Room 322, Thursdays and Fridays, noon—1pm or by appointment E-mail: [email protected]
Exercise: Scribble shapes For this exercise, you will convert a scribble (a) into a shape (b). >With the Pencil tool, click and drag to make a scribble (a). >Find the Stroke panel and increase the Stroke Weight so that no white is showing within the resulting shape (b). >Try adjusting the Stroke Cap and Join settings, and the Miter Limit setting for your scribble. >Finally, in the Object menu, go to Path and choose Outline stroke. This will convert your scribble into a shape (b).
(a)
(b)
Digital Illustration ILL 3030 01 Fall 2009 James O’Brien, instructor
Meeting time: Thursdays, 1—6pm, Room 231 Office hours: Room 322, Thursdays and Fridays, noon—1pm or by appointment E-mail: [email protected]
Project 1. Ten little things Description For this project, you will create a series of ten objects that are related by a theme of your choice. Make each thing approximately 2" square, however don't feel limited to a square format (for example, 2.5" by 1.5" would be fine).
Begin by sketching 50 possible objects, quick sketches, don't worry about how "pretty" they look, just quick ideas. At first, don't worry about fitting them to a one theme, just start sketching and let a theme develop. Scan these sketches and post them to our Blackboard discussion (will discuss).
Out of these 50 sketches, choose 10 directions to recreate in Illustrator and in Photoshop.
First, place your scan into Illustrator and recreate your 10 choices using paths with stroke, fill, and gradient. You can use any effects you are comfortable working with, and of course feel free to experiment. At this size though, keep things simple.
Next, open your scan into Photoshop, make sure you are working at 300ppi, and recreate your 10 choices using pixels. Again, feel free to experiment while keeping things simple.
Objectives >Creating a thematically related series of images. >Reinterpreting concept sketches into a vector art and pixel art; what are the differences? advantages to each? which is most appropriate for the project? >Scanning sketches for reference in Illustrator and Photoshop. >Illustrator: Placing art, Pen tool, Pencil tool, Selection tool, Knife tool, Symbols, Patterns, Spot color, Gradient, Pathfinder >Photoshop: Scanning, Resolution, Color mode, Layers, Adjustments layers, Pattern making, Save for Web
Specs >2" square (can also be rectangular, ex: 2.5" by 1.5") >CMYK color for your Illustrator file >RGB color and 300ppi for your Photoshop file
What is due and when >A tabloid Konica print of each set of 10 things, one print for your Illustrator images, one for your Photoshop images. >A copy of your Illustrator and Photoshop files placed onto our class server. >Due Sept. 10.
Digital Illustration ILL 3030 01 Fall 2009 James O’Brien, instructor
Meeting time: Thursdays, 1—6pm, Room 231 Office hours: Room 322, Thursdays and Fridays, noon—1pm or by appointment E-mail: [email protected]
Project 2. Illustrate a word Description For this week, you will make an illustration about a specific word, similar to the Illustration Friday weekly challenge. As preparation, contribute daily to a sketchbook; you may already do this but if not, get in the habit. A daily sketchbook is a valuable resource for your illustration work, and it keeps you busy when things get slow.
You will present at least five pages from your sketchbook from this week to the class.
In addition to sketches, consider making abstract color and texture fields using a traditional medium of your choice. The goal here is to experiment and accumulate elements that you can use for this and future images, either as elements you use directly in your images or as inspiration for design and concept directions.
...and the word is... tangle
Specs 8" square, Photoshop only, RGB color and 300ppi
Schedule 9/24: sketches due for review; five sketchbook pages and three concept sketches, work day, in-progress review (place a screenshot of your in-progress image onto our class server). 10/1: final illustration due for critique (place a flattened version of your file onto our class server).
Digital Illustration ILL 3030 01 Fall 2009 James O’Brien, instructor
Meeting time: Thursdays, 1—6pm, Room 231 Office hours: Room 322, Thursdays and Fridays, noon—1pm or by appointment E-mail: [email protected]
Project 3. Portrait of someone you hate Description Create a portrait of someone you hate, a celebrity or personality. This could be anyone, present or past.
This assignment idea rose from a project I worked on a couple of years ago where I did a portrait of a celebrity I didn’t really care for at the time. Although with this particular assignment, you can make any type of comment you like, my goal was to avoid any statement and portray the person in a positive, or at least neutral light. During the project, I realized that I was separating the portrait from the person, and that I liked the portrait, even though I didn’t like the person. You may find that you will be asked to do a portrait of someone you hate; can you separate your personal feelings from the assignment?
You will need to work from reference so gather photos, even if your work is stylized and not representational. Print and photocopy your references for class discussion.
For your concept, write out a list of characteristics associated with your person. Don't settle on just capturing their likeness, think about posture, expression, setting, palette, lighting, and symbolism.
For class review, sketch out at least three distinctly different compositions. We will critique sketches in class next week (your grade for this project will be affected by how much effort you put in to this step).
Specs Vertical to fit letter-size print, 300ppi resolution
Schedule Next week, sketch critique, bring in your sketches for class review (required). Following week, final image due for on-screen critique.
Digital Illustration ILL 3030 01 Fall 2009 James O’Brien, instructor
Meeting time: Thursdays, 1—6pm, Room 231 Office hours: Room 322, Thursdays and Fridays, noon—1pm or by appointment E-mail: [email protected]
Project 4. Spyhouse Description Bring your sketchbook to Spyhouse to conduct some observational research. Sketch customers, workers, interior, exterior, food, coffee, etc. Consider what it is that sets Spyhouse apart from other cafes; what is unique. You will use your research to create an illustration that represents your individual Spyhouse experience.
Use either Illustrator or Photoshop, or feel free to combine them.
For class review, roughly sketch out at least three distinctly different compositions. We will critique sketches in class next week (your grade for this project will be affected by how much effort you put in to this step).
Objectives >Develop a firm methodology for gathering visual and conceptual research and conducting observational research.
Specs >18x20” vertical or horizontal >Illustrator (CMYK) or Photoshop (RGB/300ppi)
Schedule > 10/22: sketches due for class review, scanned final sketch due (place a scan of your sketch onto our class server by noon 10/22), come to class prepared to work on your image. > 10/29: work day, in-progress review at the beginning of class. > 11/5: mounted print of your final illustration due for critique (also place a flattened version of your file onto our class server).
PRINTING INFO: we will be hanging the show as a class on Thursday 11/5. > add a one-inch margin around your image making your image size 22" x 20". > your file should be a flattened RGB Photoshop file, a flattened RGB TIFF file with no compression (choose Save As and select TIFF), an RGB Illustrator EPS file (choose Save As and select EPS). > for Photoshop files, resolution should be between 150 and 300 ppi. > team up with another student and fill out an order form for a banner print > choose semi-gloss paper (looks better in an exhibit than matte or glossy) > in special instructions, write this, "two-up these files vertically with a 10% cut line in between, contact Jim at [email protected] or 651-891-2837 with any questions" > make sure you order your print NO LATER THAN TUESDAY AFTERNOON in order to get it back in time to hang on Thursday > there is an order form in the Service Bureau with instructions on the back. > Thursday, pick up your print, bring it up to the fourth floor cutting area and cut it in half using the gray line as a guide. If you roll your print, do it loosely so it doesn't curl up too much on the wall while we're putting up the show. > meet at Spyhouse at 4pm, I may be there earlier but don't begin putting up any work unless you see me.
Digital Illustration ILL 3030 01 Fall 2009 James O’Brien, instructor
Meeting time: Thursdays, 1—6pm, Room 231 Office hours: Room 322, Thursdays and Fridays, noon—1pm or by appointment E-mail: [email protected]
5. Threadless Description This project encompasses designing and applying that design, digitally, to a t-shirt. After we’ve critiqued sketch and in-process designs you have the option to submit them to Threadless, with the hopes that you guys will win money and fame.
When you’re making sketches for this, think about how you work. Maybe your style includes drawing things outside of the computer, scanning them in and then working with that artwork. Or maybe you want your design to be digitally clean (like Tokidoki).
Threadless (as quoted by the website) is “a community-based tee shirt company with an ongoing, open call for design submissions.” People upload their tee designs, the designs are voted on and the winners' designs are made into t-shirts. Aside from recognition, Threadless pays the winners $2000, a $500 Threadless gift certificate and more money every time the design is reprinted. If your design is chosen, however, Threadless owns the rights for apparel and wall reproductions. In the instance you don't want to submit your design, that's okay too and we can apply it to a shirt in another way.
Guidelines -Download Threadless t-shirt kit. It can be found here: Submission Kit -Read the "Decline Reasons". This has information about the design restrictions. For instance, all designs must be eight colors or less. We'll be discussing this in class before beginning work. Later in critique we'll also review whether or not your designs will work for submission. -These will be done in Adobe Photoshop. -As an alternative, I will bring in some ink-jet iron-on paper to use if you would like to see your image on a shirt without using Threadless. Two other options are CafePress (my shop or your own) and Zazzle, where you can order an item with your image on it without setting up a store.
Schedule >November 12 + have explored the Threadless website, downloaded/read the Threadless guidelines, bring sketches of your ideas. + sketch review, bring in at least 3 different concept. Scan each sketch, will be collected at the beginning of class.
>November 19 + final art due for critique + arrange a copy of your image onto one of the Threadless model photos + place a copy of that image along with your original image file onto the class server. + discussion about submitting designs (optional).
Digital Illustration ILL 3030 01 Fall 2009 James O’Brien, instructor
Meeting time: Thursdays, 1—6pm, Room 231 Office hours: Room 322, Thursdays and Fridays, noon—1pm or by appointment E-mail: [email protected]
6. Portfolio website Description The objective for this project is not to teach you web design but to help you leave this class with a functional and professional-looking portfolio website.
For this final project, you will create a portfolio site of your work. If you have an existing site already, you can redesign it or create a new sub-site with an alternate design as a portfolio web design exercise.
In addition to the site design, you will create a set of illustration elements to use within your site, identity elements similar in a way to MCAD's identity icons. These elements can be used as simple embellishments as well as navigational links.
An effective portfolio website... > clearly and concisely displays and represents the type of work you do, keep things simple, organized, and focused. > expresses your personality. > shows only your best work, push your best work to the front. > includes a "call to action" allowing a visitor to contact you or fill out a form, a simple act of prompting potential clients can increase the number of inquiries you receive. > allows for easy contact through a simple form or an email link, this should be easily found and accessed from any page. > is visible by being connected to gallery sites and/or including a blog on the same domain as the portfolio site building traffic and adding additional personality to your site.
Something to consider when deciding on thumbnails: "If you show your work up front and don’t require action and effort on the part of the viewer, they’re more likely to look at more of your work and look a bit more in-depth on pieces that catch their interest. I can’t decide if something peaks my interest from a thumbnail." — Kyle Meyer - Aestheria.com (local guy by the way)
Resources: Aestheria: My Last Portfolio Sucked Smashing Magazine: 10 Steps to the Perfect Portfolio Website Smashing Magazine: Creating a Successful Online Portfolio Webmonkey: the Web Developers Resource W3Schools Online Web Tutorials Web Designer Depot Adobe TV: Dreamweaver
Step 1: before... > we will begin by reviewing the sites you created in an earlier class. Bring a copy of your site folder to class. We will also look at current sites, if you have one. > look at existing sites for inspiration (although we will be keeping these sites fairly simple, few bells and whistles).
Step 2: content... > select at least twelve images for your portfolio site, these can be digital or traditional media. > write out any necessary text. > make thumbnail sketches of your design and navigation ideas.
Step 3: building your site... > come to class with your twelve images and illustration elements.