NMD 104 Syllabus
LINKS
Visit iTunes U to download lectures to your iPod now
NMD 104 Blogspot
(For all courses lectures and student work examples and more)
ONLINE LECTURES
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Deadlines
A 1 TBA
A 2 TBA
A 3 TBA
A 4 TBA
A 5 TBA
A 6 TBA
A 7 TBA
A 8 TBA
A 9 TBA
A 10 TBA
A 11 TBA FINAL
READINGS
R 1 TBA
Readings 287-finish book
R 2 TBA
Readings pages 237-286
R 3 TBA
Readings pages 195-236
R 4 TBA
Readings pages 120- 191
R 5 TBA
Readings pages vi- 118
(all readings require a minimum 250 word response and must be labeled and formated correctly “R1_NMD204S0_JaneDoe.doc)
SKILLS AND CONCEPTS:Through in-class and formal assignments students will demonstrate an understanding of the following skills and concepts:
• Creative problem stating and solving skills
• Comprehension of visual design principles relative to a digital media
• Image creation, editing and processing with both vector and raster graphics
• Basic understanding of digital sound
• Basic ability to work with time-based digital video
• Basic comprehension of concepts relative to interactive multimedia design and navigation
• Comprehension of terms, ideas and issues related to a digital media
• Clear communication of content and ideas
• Coherent expression of ideas and opinions in a critical context
• Understanding of creative and applied visual expression through a digital medium
REQUIREMENTS: Class activities and demonstrations begin promptly therefore timely arrival for class and preparedness to work is expected, along with active participation in lab work, discussions and critiques. Students must complete all outside class work by the specified time; develop and present a (digital) portfolio of all work for grading as well as maintaining this portfolio for future assessment; additionally students are required to keep a journal complete with notes, visual samples and sketches of ideas.
GRADING STANDARDS: Meeting the above requirements in an average manner will result in a "C" as the final grade. Better than average effort and execution will result in a "B". An "A" is reserved for demonstrated exceptional creative development, application, innovation, effort, and an in-depth understanding of process. Failure to complete any of the above components of your grade with an average or better effort will result in a "D" or an "F" as your final grade.
GRADING: Grades will be given on assignments (not exercises) and at midterm. Your grade is composed of the following separate parts;
Overall demonstration of growth during this course
Comprehension of process as it relates to digital media and production
Successful completion of all in class work
Successful completion of all homework assignments
Demonstrated ability to take risks relevant to objectives
Maintenance of a comprehensive journal
Skillful handling of media (technique)
Overall quality of work
Understanding and application of criticism
Participation in class discussions and labs
Attendance and punctuality
Completion of all additional exercises and readings
Final Project
INCOMPLETE: A grade of incomplete may be granted to students who have suffered serious illness during the academic term, resulting in failure to complete all assignments by the end of the quarter. Proper documentation s required and must be attached to the petition for a grade of incomplete. A student who has missed over 25% of the quarter may not be eligible for an incomplete.
ATTENDANCE: Two unexcused absences will lower your grade one complete grade point. Three unexcused absences will result in a grade of no higher then a “C”. Each successive absence will further affect your grade. The accumulation of absences can lead to failure of this class. Chronic late arrival will lower your grade.
DIGITAL DOCUMENT: You must document your process and keep all work done during the semester. This should include all online writings to every aspect of projects done. Additionally, you must document the process by which you conceive ideas and develop your work. All this “information” must be kept and maintained until the end of the semester at which time you are to compile it into a “user-driven responsive digital document.” This is similar to a portfolio, except that it is to be a properly designed and coherently constructed information system containing everything done for this course.
EXTRA CREDIT: Any work that you do above and beyond what is required will merit you extra credit and will help you to achieve an "A+". Extra credit does not replace homework or missed classes.
HOMEWORK: You must complete all of the homework for this class by the specified time. Late work is not accepted. I suggest that you begin your homework as soon as it is assigned so that you can have the leisure to do a skillful and competent job. Rushed last minute work is generally poor in quality and you will not learn much by waiting till the last.
IMPORTANT: This syllabus is not a contractual obligation between the professor and the student. It is subject to change at the discretion of the professor. Please keep this syllabus with you throughout the semester.
ACADEMIC HONESTY: Academic honesty is expected. Plagiarism is unacceptable in this course and will result in a failing grade. “Although a writer may use other persons’ words and thoughts, they must be acknowledged as such.” Joseph Gibaldi and Walter S. Achtert, MLA Handbook (Modern Language Association) 1977, p. 4.
STUDENTS WITH DISABILITIES: If you have a disability for which you may be requesting an accommodation, please contact either me or Ann Smith, Coordinator of Services for Students with Disabilities (Onward Building, 581- 2319), as early as possible in the term.
INSTRUCTIONAL MATERIALS AND METHODS
SUGGESTED READINGS: These will be helpful in the mechanics of the course.
Visual Quickstart Guides For Macintosh including:• Illustrator •Photoshop • and others
The Non Designers Web Handbook
The Adobe Wow Books,
Adobe Classroom In A Book Series
Director Demystified
Official Macromedia Director Studio
GRADING
30% Final
20% MIDTERM
25% CLASS WORK
25% PARTICIPATION
Based on in class attendance and discussion, your posting to the weekly "notes" FirstClass conference and your weekly posting to the class reflections blog.
GRADING SCALE
Your grade will be determined based upon the total points earned on projects, exercises, participation/attendance and the final project. There is no provision for doing extra or outside work to improve your grade.
A = 90.0% to 100%
B = 80.0% to 89.9%
C = 70.0% to 79.9%
D = 65.0% to 69.9%
F = 64.9.0%
In Class Notes: Each class I will ask someone to take lecture notes and post them for the day. I encourage all students to take notes and post them to the proper FC folder as well.
LECTURE RESPONSE AND BLOGGING
Each week you are required to attend the class in person. You will meet the professor live in the class or online as the lesson requires. You will also be required to watch pod cast lectures posted at iTunesU. You are required to post a “response” to the lecture by midnight the following night. Your posts should be made to:
Format For Responses And Posts: You are responsible for full participation in the blogs as described above. Full participation translates as responding initially to the lecture by the prescribed time and at a minimum one follow-up response to someone else's post. I consider a response to be- well reasoned and with an informed, well supported opinion. Journalistic comments such as, “I agree with what Ellen says when she says …condition of the state of…," will not be considered as acceptable nor will such as, “I really like (or dislike) …” I am looking for considered responses. You must also read everyone else's posts then choose at least one to respond too, again a considered response (see above).
Instructions For Using The Blog:
1. Sign up for blogger (or if you have any gmail account, that will work)
2. Log-in and go to your blog NMD304:
3. Each week I will post a new BLOG POST (i.e. "comment on this weeks lecture") and I want everyone to COMMENT on that specific thread (so at the end of the semester there is about 13 blogs with comments on each instead of 200 blog posts by students). This means you will not be able to AUTHOR posts, but rather comment on each specific lecture of the week. All you have to do is find the post then go to the bottom of it and find where it says X COMMENTS (images below, highlighted in pink) click it and you should come to a screen where it will say COMMENT HERE, then post your comment as prescribed above.
READINGS:.
Required: There may be a carefully selected set of readings given to you throughout the semester. All readings are chosen to “fit” in with a particular project or topic of discussion. Whenever a reading is distributed (some online other Xeroxed) you are to read it and post a response within twenty-four hours to the appropriate FirstClass folder. Once all postings are up you are to read everyone else’s initial posting. Then you are to respond to either three (minimum) other postings or respond “in thread sequence” to a particular posting (again at least a minimum of three times). On a specified day, after the readings and postings we will hold a discussion of the readings and responses in class.
ASSIGNMENTS: (Note: There are alternates to several assignments, I will change assignments form one semester to the next or add new ones. I list them all only for you to get an idea of what may be ahead during the semester)
Assignment 1: Paths and Shapes
OBJECTIVE:
• To gain an understanding of the basic techniques and problems of creating simple vector graphics.
• To develop familiarity with such concepts as Bezier curves, control points, paths, anchor points etc.
CHALLENGE & GOALS:
• To complete the simple “tracing” of the given paths and shapes
• to develop basic “drawing” ability with a vector program
CONSIDER:
• Make sure your outlined path pr shape is one complete shape not several pieces.
• Make sure you do not have excess “artifacts” such as anchor points or double lines.
• Pay attention to curves in shapes, do not have sharp bends or “funky” curves when a form needs a smooth curve.
ILLUSTRATOR SPECIFIC INFORMATION:
A path is made up of one or more straight or curved segments. The beginning and end of each segment is marked by anchor points, which work like pins holding wire in place. You change the shape of a path by editing its anchor points. You can control curves by dragging the direction points at the end of direction lines that appear at anchor points.
A path is either open, like an arc, or closed, like a circle. For an open path, the starting and ending anchor points for the path are called endpoints.
Paths can have two kinds of anchor points--corner points and smooth points. At a corner point, a path abruptly changes direction. At a smooth point, path segments are connected as a continuous curve. You can draw a path using any combination of corner and smooth points. If you draw the wrong kind of point, you can always change it.
A corner point can connect any two straight or curved segments, while a smooth point always connects two curved segments.
Assignment 2: Design Elements:
CHALLENGE & GOALS: Using only circles, squares or equal lateral triangles present examples of the following “ Elements” in an 8.5 x 11 area, design your layout well in either portrait or landscape format. Avoid being too clever, drawing away from the intention of this project. You can only work in black, white and/or grey, no color. Show the following:
•Relative Elements
Direction
Spatial
Detachment
Speed
Gravity
Penetration
Relation / Placement
Tangent
Overlap
Coinciding
Intersection
Union
Subtraction
Make sure your name and assignment number are on each project
Assignment 3: Vector Signature
To create a “vectorized” image of your own signature.
CHALLENGE & GOALS:
• Using a scan of a “hand-drawn” image of your signature to trace it using the drawing tools of Illustrator.
• You must “re-draw” it using the peen tool set in Adobe Illustrator. You are not allowed to use the
“trace function”.
• To learn to better control of your vector drawing abilities.
• To understand the difficulties of creating complex shapes with a vector-based drawing tool.
• Please work on a 11 X 8.5 (landscape orientation) work space and make your vector signature as big as possible (fill the
CONSIDER:
• Make sure your outlined shape is one complete shape not several pieces.
• Group all shapes keeping the outline and the “holes” in letter forms together.
• Pay attention to curves in shapes, do not have sharp bends or “funky” curves when a form needs a smooth curve.
• Focus on really trying to “capture” the character and quality of your signature.
Assignment 4: Vector Portrait
OBJECTIVE:
To create a drawn “vector” self portrait.
CHALLENGE & GOALS:
• Using a scan of a single light source (preferably B & W) photo of yourself create a "Fantastic!" vector self portrait using the drawing tools of Illustrator.
• You must “re-draw” it using the pen tool set in Adobe Illustrator. You are not allowed to use the
“trace function”.
• To learn to better control of your vector drawing abilities.
• To understand the difficulties of creating complex illustrations with a vector-based drawing tool.
• Please work on a 8.5 X 11 (portrait orientation) work space and make your vector portrait as big as possible.
• Include head, neck and shoulders in the image. You can include background imagery (extra bonus points).
• Be creative and artistic as possible in the creation of your image.
• Try to get as much detail as possible.
CONSIDER: • Make sure your outlined shape is one complete shape not several pieces, no open shapes unless they are lines.
• Group shapes..
• Pay attention to curves in shapes, do not have sharp bends or “funky” twisted curves when a form needs a smooth curve.
• Really try to make as impressive a self portrait as you can.
Assignment (ALTERNATE): Type Portrait
OBJECTIVE: To create a “vector” self portrait using "Type" in layers , masses shapes, etcetera to define value structures.
CHALLENGE & GOALS:
• Using a scan of a single light source (preferably B & W) photo of yourself create a complex vector self portrait using the type tools of Illustrator.
• You should consider using Illustrator self portrait you did for shapes for this assignment or you may work from scratch. For this project you can use the "trace" function.
• Understand manipulation of type, kerning, leading, size etc.
• To understand the difficulties of creating value based image with using type in an abstract and creative way.
• Please work on a 8.5 X 11 (portrait orientation) work space and make your vector portrait as big as possible.
• Include head, neck and shoulders in the image. You can include background imagery (extra bonus points).
• Be creative and artistic as possible in the creation of your image.
• Try to get as much detail as possible.
CONSIDER: • How massing or layering or "solid-setting" type can create values.
• You might try creating a "gray" scale with type first.
• Group shapes.
• Really try to make as impressive a value structure in this self portrait as you can.
Assignment 5: Design Matrix
OBJECTIVE: Using a raster based image editor to generate complex textures. You will be using both pure pixel manipulation without any initial image (tabula rasa) as well as working from scanned textures that you will combine and modify.
CHALLENGE & GOALS: • Develop a deep understanding of "pure" pixel manipulation in raster based image program such as Adobe Photoshop
• You must create NINE ordinal textures from the blank state (refer to example in class)
• You must import via scanned or digital photographic means THIRTEEN other sample "textures" (i.e., close ups of-- blades of grass, bricks, fabric, soap suds, etc.)
• Understand use of Filters and manipulation of image to create new synthesis of images
• Complete the Design Matrix Grid (you may alter background color and other color elements as you wish)
• Push your self as much as possible to create as varied and interesting set of textures as you can on your grid
CONSIDER: • How "overlayed" images will cause change
• Consider simple things like opacity
• Attempt advanced things like layer effects
• Really use this assignment as an opportunity to explore many details of your raster based program
Assignment 6: Surrealistic Couch
OBJECTIVE:
Using Adobe Photoshop’s abilities to manipulate an image, map a texture (one is fine but more than one can be more work and fun) onto a scanned image of a piece of furniture. It is important that you maintain strict value relations so that your newly “upholstered” object still looks dimensional.
CHALLENGE & GOALS:
• Begin by getting a good image (black and white can be easier) of a piece of furniture. It must be a 3/4 view showing dimension and have a good light shadow relation from side to side.
• Scan your image and then remove all unnecessary background imagery saving only your furniture (unless you want extra credit and are going to texture everything!).
• Using the textures you have been accumulating (remember those??) or the ones that are on the server, simply map the texture on to your object maintaining a strong sense of dimension and value...easy eh?
• Save your project in the assigned folder under assignments
CONSIDER:
• The dimensionality of your finished object is important so the following are all important to consider.
Shadows
Value
Perspective
Assignment 7 MIDTERM: 101 Solutions
OVERVIEW: A visual creative person is often called upon to solve challenging problems. These problems can be generated from seemingly mundane instances or references. The solution to these (and many other) visual design problems often requires the discovery of unique and “fresh” visual solutions to what may seem like tired subjects.
The challenge of 101 Solutions demands that you be willing to take risks, be playful and become deeply experimental, pushing you conceptual skills to the limit. Endurance plays a major role in this problem in that you will find yourself nearing a complete level of creative exhaustion (remember the seven levels of the creativity process?) at which point you have to become resourceful in your approach to the solution. The effort and demand to find an excessive amount of preliminary ideas could be exhausting but it can lead you to that interesting and most critical point where attention begins to wander and impatience tends to set in. In just completing this assignment you will know your own possibilities and abilities.
PROBLEM: Select from one of the following subjects and visually interpret it 100 different ways in any medium of you choose:
fork skateboardsneaker paper bag sun cloud ant lizard frog strawberry apple dandelion tulip gum-ball machine lobster blueberry
CONSIDER: All principles of design such as, cropping, placement, intersecting, color, texture, scale, framal reference, fragmentation, etc. You may use any program(s) or traditional medium(s) what so ever including collage and photography-- just scan them in.
CONCLUSION: Select what you consider the best solution out of the 100 and scale it up to 150 dpi 200-300%.
FORMAT: You must decide on an initial standard size for each of your explorations not to exceed 4 inches nor be less than 1 inch. All subsequent designs must be the exact same size. You should have all on a page with at least a 1/4 inch space between them. Number each one in order of completion. Presentation is important! Use Illustrator to make a "drawing' board the size you need and then proceed to layout your image areas. Import images from Photoshop or combine Photoshop and Illustrator or simply work in Illustrator. Save a copy of your final document as a PDF or even export it as a JPG (so it is small enough to transport).
Assignment 8: NO-SELF / SELF PORTRAIT
OBJECTIVE: Use a raster based image-editing program to collage, manipulate, enhance and create an image that represents how you view yourself without including images of yourself. Your finished image should be a “conceptual” portrait of your self using images as icon, index and symbol.
CHALLENGE & GOALS: • To “hide” the fact that you are creating a computer generated image using image-editing software.
• To create a conceptual image of yourself (how you view yourself in terms of your emotional, psychological and/or physical self) using scanned (or other digitized) images that function as either icon, index and/or symbol.
• To use the effects and processes available through raster editing to conceal the act of collage and create “seamless integration of various imported elements.
• To understand how to develop a image that conceptually references your intended idea.
LIMITS: • Please work in an 11 X 17 inch workspace at 72 DPI.
• Do not use words.
• Do not user any images of your self whatsoever.
CONSIDER: • The semiotics of image (as per class discussion.
• How you can avoid making your collage look obvious as if the images were “cutout” and placed together.
• Pay attention to how images interact with one another and create new meanings and levels of interpretation.
• Focus on developing your concept
Assignment 9: Introduction to TIME-Based Media A Conceptual Count Down
BACKGROUND: Essentially Time-Based Media are those types media that are sequentially designed. Any type of data that changes meaningfully with respect to time may be characterized as time-based media. The most common forms of time-based media are movie (motion-image) clips, animations, audio clips MIDI sequences and the “comic” panel or storyboard, all of which express or represent the measurement of time, electronic pulse, or a digital signal. Integral formal elements of time-based media are motion, tempo, sequencing and duration.
DEFINITIONS: • Media is usually related to the way information is presented or conveyed. Medium usually means the physical tool used to pass the information along.
• Artifacts refers to the objects produced in/on a particular medium. The medium may be natural (or physical), such as paper or canvas, or digital, such as on a computer. Artifacts may be either physical or digital, depending upon how they were created; i.e., graphic arts created on a computer are artifacts, but the digital images are media objects.
• Media objects are the machine-readable representations of artifacts, such as digital images, digital audio recordings, and digital video recordings.
PROBLEM: Using the provided clips (or you may choose to shoot and use original material but remember time is limited) and working with Final Cut Pro or AfterEffects make a "narrative" countdown from 10-0. By narrative I am requesting that you think conceptually and avoid a simple numeric backwards counting. The numeric representation of number can play part in your finished piece but you should only use that as one layer if you have to. Try to establish some sort of narrative conceptual base fro your count down --- avoid the obvious i.e., a count down that leads to a rocket blasting off.
CONSIDER: How and if you use any effects. How does a transition from one image sequence to another work? What effect does the speed of individual sequences and overall composition have?
FORMAT: Your final movie should be 24fps, 320 X 240, 4:3 aspect ratio, a ".mov" file for quicktime using proper compression (to de discussed in class). Sound is optional, if you use someone else's music you must give proper credit. All movies should have a beginning, which can be as simple as a fade in from black or white or a title sequence. All movies must have credits at the end with a proper colophon (description of who did what with what..." all scenes shot with a cannon DV6 image processed with adobe aftereffects etc...)
Assignment 10: An Animated Tale / Storyboard
OVERVIEW: As an artist, designer, researcher and in many other endeavors you will be required to present your ideas and concepts before execution, These can be done as a white-paper, typical research paper, outline, power-point presentation or in the case of time-based work in the form of a storyboard. Simply put a series of images in sequence that pre-visualizes your work is a storyboard. Traditionally these are done as fixed images such as fully developed drawings, loose sketches, photos, collage or any other visual means. An "Animatic storyboard" is one that "moves through" time has a simple level of animation showing some aspects of timing, movement of the pictorial elements, characters and camera, it should also include examples of sound (dialog) as well.
DEFINITIONS (FROM WIKIPEDIA): Storyboards are a series of illustrations displayed in sequence for the purpose of pre-visualizing an animated or live-action film. A storyboard is essentially a large comic of the film or some section of the film produced beforehand to help the directors and cinematographers visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement. The story-boarding process, in the form it is known today, was developed at the Walt Disney studio during the early 1930s, after several years of similar processes being in use at Disney and other animation studios.
Story-boarding became popular in live-action film production during the early 1940s. In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of events as they are to be seen through the camera lens. In the story-boarding process, most technical details involved in crafting a film can be efficiently described either in picture, or in corollary notation. Some live-action directors, such as Joel and Ethan Coen, storyboard extensively before taking the pitch to their funders, stating that it helps them get the figure they are looking for since they can show exactly where the money will be used. Other directors storyboard only certain scenes, or not at all. Animation directors are usually required to storyboard extensively, sometimes in place of doing a script. In animation and special effects work, the story-boarding stage may be followed by simplified mock-ups called animatics to give a better idea of how the scene will look with motion. Often storyboards are animated with simple zooms and pans to simulate camera movement (using software such as Final Cut Pro). These animations can be combined with available animatics, sound effects and dialog to create a presentation of how a film could be shot and cut together. Examples of these exist on the DVD special features for several feature films.
Storyboards were adapted from the film industry to business, purportedly by Howard Hughes of Hughes Aircraft. Today they are used by industry for planning ad campaigns, commercials, a proposal or other projects intended to convince or compel to action.
One advantage of using storyboards is that it allows (in film and business) the user to toy with changes in the story-line to evoke stronger reaction or interest. Flashbacks, for instance, are often the result of sorting storyboards out of chronological order and help build suspense and interest.
Storyboards are used to brainstorm and capture all the ideas before taking action. The process of visual thinking and planning, allows a group of people to brainstorm together, placing their ideas on storyboards and then arranging the storyboards on the wall. This fosters more ideas and generates consensus inside the group. Animatic's, also called a story reel, is a filmed version of a storyboard, created to test dramatic timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence. More commonly, a rough dialogue or sound track is added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working well together.
This allows the animators and directors to work out any screenplay and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage prevents the animation of scenes that would be edited out of the film; as animation is a very expensive process, there can be very few "deleted scenes" if the film is to be completed under budget.
PROBLEM: Using the “Me and My Arrow” song conceptualize an abstract an highly graphic animated story for the song. Then create a storyboard and an animatic version with proper timing. You are to consider the development of your storyboard as an outline for a final animation, for the animatic this should be a time-based version of your storyboard (you just use the existing storyboard in either AfterEffects or iMovie) as discussed in class.
CONSIDER:
• Try to convey the elements of the animation
• What things can be repeated (elements sequences etc…)
• Think visually of the figure ground ideas discussed as well as composition and other design ideas covered
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•Work very graphically with all images for this piece
Assignment 11 FINAL: Me and My Arrow Animation
You are to create the graphic animation of “Me and MY Arrow” that you conceptualized and story-boarded out in “Assignment 12 A (ALTERNATE): An Animated Tale / Storyboard.”
FINAL FOLIO
You are to prepare a DVD Portfolio that is fully functional original in design and has a ROM folder containing properly compressed version s of all the work done in class. Base your work on the in class discussion and tutorial for this project. Please make original menus and design for your DVD. You should also consider final presentation, which means a fully designed sleeve, or other packing and a printed design on the DVD. The total graphic package should be well considered and designed.
Course Description: Introduction to elements, principles, and theories of visual design, in traditional and electronic media; processes, methods and technologies relative to the creative use of the computer as a creative tool for the development of both artistic and professional images. Lec 3. Cr. 3.
Course Goals and Objectives: This course utilizes the computer as a creative tool for the development of both expressive and professional images. The focus is on the creative visual design process and developing creative problem solving skills. Additionally, students learn how to critically discuss visual design along with an exploration of basic conceptual skills essential to design issues in New Media, such as interface, interaction and visual navigation. Design issues unique to the medium are addressed along with related critical and aesthetic concerns.
EXPECTED OUTCOMES: Students will gain an essential understanding of the process of visual design in a variety of digital media types (vector and raster graphics, image, sound, time-based-video and so forth). This course provides a fundamental comprehension of principles and paradigms necessary for creative visual design in a digital medium. It will enable the student to establish the needed skill set to creatively state and creatively solve design issues. Ultimately, it is anticipated that a wide-ranging visual fluency will be achieved and creative ability will be acquired in the processes, concepts and language of New Media. Although an entry-level course, students will be expected to gain a high degree of competency in visual design and the use of digital media as a means for creative and applied expression. Students will learn both applicable traditional aspects of visual design and theory and those unique to New Media, which can be applied to the development and creation of work.
NMD 104
Design Basics
For New Media
