| 000 | 05992nam a22004093i 4500 | ||
|---|---|---|---|
| 001 | EBC5134721 | ||
| 003 | MiAaPQ | ||
| 005 | 20191009123150.0 | ||
| 006 | m o d | | ||
| 007 | cr cnu|||||||| | ||
| 008 | 191009s1900 xx o ||||0 eng d | ||
| 020 |
_a9781282433076 _q(electronic bk.) |
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| 035 | _a(MiAaPQ)EBC5134721 | ||
| 035 | _a(Au-PeEL)EBL5134721 | ||
| 035 | _a(CaONFJC)MIL243307 | ||
| 035 | _a(OCoLC)1027139408 | ||
| 040 |
_aMiAaPQ _beng _erda _epn _cMiAaPQ _dMiAaPQ |
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| 082 | 0 | _a6.6 | |
| 100 | 1 | _aBaron, Cynthia L. | |
| 245 | 1 | 0 | _aDesigning a Digital Portfolio. |
| 250 | _a2nd ed. | ||
| 264 | 1 |
_a : _bPearson Education Inc, _c1900. |
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| 264 | 4 | _c�1900. | |
| 300 | _a1 online resource (361 pages) | ||
| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 505 | 0 | _aCover -- 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 | _aPortfolio 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 | _aThis 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 | _aDescription based on publisher supplied metadata and other sources. | ||
| 590 | _aElectronic 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 | _aElectronic books. | |
| 776 | 0 | 8 |
_iPrint version: _aBaron, Cynthia L. _tDesigning a Digital Portfolio _d : Pearson Education Inc,c1900 |
| 797 | 2 | _aProQuest (Firm) | |
| 856 | 4 | 0 |
_uhttp://ezproxy01.ny.edu.hk:2048/login?url=https://ebookcentral.proquest.com/lib/ircp3g4/detail.action?docID=5134721 _zClick to View |
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