Designing a Digital Portfolio. (Record no. 36618)

000 -LEADER
fixed length control field 05992nam a22004093i 4500
001 - CONTROL NUMBER
control field EBC5134721
003 - CONTROL NUMBER IDENTIFIER
control field MiAaPQ
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20191009123150.0
006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS--GENERAL INFORMATION
fixed length control field m o d |
007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION
fixed length control field cr cnu||||||||
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 191009s1900 xx o ||||0 eng d
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781282433076
-- (electronic bk.)
035 ## - SYSTEM CONTROL NUMBER
System control number (MiAaPQ)EBC5134721
035 ## - SYSTEM CONTROL NUMBER
System control number (Au-PeEL)EBL5134721
035 ## - SYSTEM CONTROL NUMBER
System control number (CaONFJC)MIL243307
035 ## - SYSTEM CONTROL NUMBER
System control number (OCoLC)1027139408
040 ## - CATALOGING SOURCE
Original cataloging agency MiAaPQ
Language of cataloging eng
Description conventions rda
-- pn
Transcribing agency MiAaPQ
Modifying agency MiAaPQ
082 0# - DEWEY DECIMAL CLASSIFICATION NUMBER
Classification number 6.6
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Baron, Cynthia L.
245 10 - TITLE STATEMENT
Title Designing a Digital Portfolio.
250 ## - EDITION STATEMENT
Edition statement 2nd ed.
264 #1 - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT)
Place of publication, distribution, etc :
Name of publisher, distributor, etc Pearson Education Inc,
Date of publication, distribution, etc 1900.
264 #4 - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT)
Date of publication, distribution, etc �1900.
300 ## - PHYSICAL DESCRIPTION
Extent 1 online resource (361 pages)
336 ## - CONTENT TYPE
Content type term text
Content type code txt
Source rdacontent
337 ## - MEDIA TYPE
Media type term computer
Media type code c
Source rdamedia
338 ## - CARRIER TYPE
Carrier type term online resource
Carrier type code cr
Source rdacarrier
505 0# - FORMATTED CONTENTS NOTE
Formatted contents note Cover -- Table of Contents -- Introduction -- Part I: Planning -- Chapter 1 Assessment and Adaptation -- Soul-searching -- Adapting your content -- Creating your own projects -- Partnering -- Portfolio highlight: Luke Williams with Jonnie Hallman | Partnering -- Chapter 2 Professions -- Purpose -- Portfolio ingredients -- Your portfolio mix -- The grain of salt… -- Portfolio highlight: Will Scobie | Primary directive -- Chapter 3 Your Audience -- Why do research? -- What should you research? -- Search tools -- When are you done? -- Portfolio highlight: People Design | Know your market -- Chapter 4 Delivery and Format -- Portable media -- Email -- Online -- Portfolio strategies -- Portfolio highlight: Emmanuel Laffon de Mazi�eres | Form and function -- Part II: Collecting and Preparing -- Chapter 5 Organizing Your Work -- Collecting material -- Storing original art -- Organizing samples and artwork -- Organizing digital files -- Portfolio highlight: John Locke | Left brain, right brain -- Chapter 6 Transferring Physical Media to Digital -- Digital craft defined -- Getting help -- Shooting 3D and oversized work -- Digitizing flat art -- Digitizing slides and negatives -- Digitizing VHS tapes -- Cleaning up -- Working process -- Choosing a file type -- Editable issues -- Resizing -- Sharpening -- Portfolio highlight: Triboro Design | Applause in translation -- Chapter 7 Repurposing and Optimizing -- File adaptation strategies -- Repurposing with PDFs -- Optimizing image files -- The optimizing process -- Optimizing video -- Encoders and players -- Encoding settings -- After the artwork -- Portfolio highlight: Thom Bennett | Optimal detail -- Chapter 8 Creating Written Content -- Avoiding writing errors -- What to write and why -- Identifying your work -- Introducing yourself -- Explaining your creative thinking -- Writing to your audience.
505 8# - FORMATTED CONTENTS NOTE
Formatted contents note Portfolio highlight: Sandstrom Design | Get your words' worth -- Part III: Production -- Chapter 9 Structure and Concept -- Choosing a delivery technology -- Developing for web or portable -- Thinking about structure -- Selecting a metaphor -- How you use a metaphor -- Concept -- Putting it all together -- Portfolio highlight: CloudRaker | Experienced design -- Chapter 10 Designing a Portfolio Interface -- The screen is not a book -- Interface design process -- Process stages -- Avoid distractions -- Moving to production -- Portfolio highlight: Layla Keramat | The master plan -- Chapter 11 Portfolio Reels -- Reel possibilities -- Your reel and the market -- Developing the reel -- Structure -- Audience sweeteners -- Reel delivery -- Portfolio highlight: Metaversal Studios | Reel life -- Part IV: Marketing -- Chapter 12 Copyright and Portfolio -- Understanding fair use -- Respecting others' rights -- Roles and large projects -- Owning your work -- Protecting your work -- Protection technologies -- Dealing with infringement -- Portfolio highlight: Noa Studios | Fair share -- Chapter 13 Presenting Your Portfolio -- Testing your work -- Getting feedback -- Packaging a portable portfolio -- Getting the word out -- Contacting individuals -- The personal presentation -- Following up -- Staying relevant -- And, the end. Maybe. -- Portfolio highlight: Ken Loh | A hand in the game -- Part V: Appendixes -- Appendix A: Resources -- Appendix B: Contributors -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z.
520 ## - SUMMARY, ETC.
Summary, etc This is the eBook version of the printed book. If the print book includes a CD-ROM, this content is not included within the eBook version. Portfolios have always been artists' most valuable tools for communicating their talents to the outside world, whether to potential employers or galleries or clients. But the days of sketches and slides have given way to arrangements of digital assets that are both simpler and more complex than their traditional analog counterparts. Instructor and design professional Cynthia Baron covers all the facets that artists need to know, from choosing the best work for a particular audience to using various file formats to organizing, designing, and presenting the portfolio. Beautiful full-color illustrations demonstrate her instructions, and case studies throughout portray examples of attractive and effective portfolio design. This book gives artists at any level a creative edge, ensuring that their portfolios get noticed and help them stand out from the crowd.
588 ## - SOURCE OF DESCRIPTION NOTE
Source of description note Description based on publisher supplied metadata and other sources.
590 ## - LOCAL NOTE (RLIN)
Local note Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2019. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
655 #4 - INDEX TERM--GENRE/FORM
Genre/form data or focus term Electronic books.
776 08 - ADDITIONAL PHYSICAL FORM ENTRY
Display text Print version:
Main entry heading Baron, Cynthia L.
Title Designing a Digital Portfolio
Place, publisher, and date of publication : Pearson Education Inc,c1900
797 2# - LOCAL ADDED ENTRY--CORPORATE NAME (RLIN)
Corporate name or jurisdiction name as entry element ProQuest (Firm)
856 40 - ELECTRONIC LOCATION AND ACCESS
Uniform Resource Identifier http://ezproxy01.ny.edu.hk:2048/login?url=https://ebookcentral.proquest.com/lib/ircp3g4/detail.action?docID=5134721
Public note Click to View

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