WEEK 12

                     

DISTRIBUTION OF MULTIMEDIA COURSEWARE

2 topics

1. Techniques and methods for multimedia application distribution

2. Marketing strategy

Techniques and methods for multimedia application distribution

- should be consider at the software design stage

- how will the application will be distributed

- should considered the size for the application and the sufficiency and efficiency factor maultimedia dietribution

Marketing strategy

1. How to market

2. Where to start

3. What to be considered

4. After sales?

Marketing Plan

                                           

Marketing strategy process

Pada akhir kelas, En Juhazreen mengingatkan kami semua tentang pembentangan projek akhir pembangunan cd rom , penilaian formatif dan laporan akhir projek pembangunan cd rom.

REFLEKSI

WEEK 11

Courseware Testing and Evaluation

Testing and Evaluating your own multimedia courseware can help you spot problems and make

appropriate changes.

It helps to have somebody else evaluate and test the courseware for you, but you can probably

gain some benefit even if you go through the procedure yourself.

Courseware Evaluation vs Courseware Testing

Testing implies matching a prescribed set of quantifiable criteria against performance to find

errors. For example, to check :

• if the design ideas which are applied are working;
• if the message is communicated perfectly or not;
• If multimedia and interactive elements work properly.
• everything that is used in the presentation is
• relevant to the intended audience, if not then what part is to be changed;

Evaluation is wider in that it is not looking for specific errors but improvements to the design during development or when the program is finished. The things to notice are :

• what is working well; what are the strengths of the
• project; what are clients saying about it;
• what do they like or dislike; is the objective being accomplished;
• if the entire project is to be done over again, what would be done differently

WEEK 10

SEMESTER BREAK

WEEK 9

Project Presentation and Discussion  (Prototype)

Marks – 15 %: 5% Group and 10% Individual

Weather : Very Hot

Mood :  Dup dap dup dap…

This week all of us have to present our prototype which represent 40% of the project. During others’ group presentation, we have to give comments and feedback in order for us to improve our project. Therefore, during our group’s presentation, some of the comments that we get are the my part (reading) is too simple.  All the comments really help us in order to make the courseware more interesting and easy to use. We can also see some examples of good visual design from our friends presentation.

WEEK 4 Information Design 

Information Design

There are five things to think about in the process of Information Design:

• Message : What information do you wish to share?
• Audience: Whom do you wish to share your message with?
• Purpose: How and why do you want to share your message with the audience?
• Background: What does your intended audience already know about the subject you are discussing.
• Structure: How can your message organize effectively?

WEEK 5 & Interaction Design

Interaction Design

"Interaction design is about shaping digital things for people’s"


-Jonas Lowgreen (Interaction-Design.org)

Interaction design aims to define and facilitate interaction between human beings by means of a product or a service. It focuses on the possibilities to create and encourage behavior facilitating an exchange between people. 

During the conceptual phase an interaction designer works with such notions as:

• mental model (a person’s representation of a system or an environment)
• metaphors;
• “mapping” (availability of system control elements and their impact);
• real or perceived affordance of an object(the object’s capacity to suggest its own function);
• senses (sight, touch, sound, smell...);
• user environment (immersion, augmented reality, virtual worlds, tactile interfaces...)

6th Week:Presentation Design

• Screen design, visual theme, colors & typography
• Common challenges in presentation design

Typography Basics (resource : http://www.online.tusc.k12.al.us/tutorials/typograp/typography.htm)

Typography is the selection and arrangement of typefaces, sizes, and spacing on a printed publication or web page. Typography has a major impact on the overall look and image of your page and its overall quality.

In choosing typography, you must:

• Select a font (or typeface)
• Choose a font size
• Decide how much space to allow between lines of type
• Determine how much contrast to add between headlines and text

Typography should be readable and legible. Readability refers to whether a long block of text, such as an article or book, is easy to read. Typefaces are readable when they are basically invisible to the reader. This happens when the reader doesn’t stop to think about the typeface instead of the message when reading. Legibility refers to whether a short amount of text, such as a headline or subhead, is easily recognizable.

Typography can be used to create personality and feeling on a page:

• Formal or informal
• Modern or classic
• Dense or open
• Light or dramatic

A typeface refers to an entire family of letters of a particular design. Literally thousands are available. An example of a typeface is the Arial font family, including: Arial, Arial Light, Arial Narrow, and Arial Black. Fonts are a specific member of the family. An example of a font is Arial. Usually, a computer has a set of built-in fonts that come with its software. Additional fonts can be downloaded from font sites on the Internet or purchased on CD in a typeface software library.

Kinds of Typefaces

• Sans Serif Typefaces - Sans Serif typefaces do not have finishing strokes at the ends of the letterforms. The name comes from the French word sans, which mean “without.” Sans Serif typefaces are also referred to as Gothic. Avante Garde, Helvetica, and Arial are the most common Sans Serif typefaces.
• Serif Typefaces - Serifs are lines or curves projecting from the end of a letterform. Typefaces with these additional strokes are called Serif typefaces. They are also referred to as Oldstyle typefaces. Times Roman, Palatino, Bookman, and New Century Schoolbook are common Serif typefaces.
• Script Typefaces - Script typefaces simulate handwriting, with one letter connected to another visually, if not physically. Script typefaces emulate several different types of hand-lettering, including calligraphic, drafting, and cartoon. Zaph Chancery and Brush Script are common Script typefaces.
• Character Fonts - Character fonts are extended character sets packaged as fonts. To view the character font sets on a personal computer, open the Character Map file in the Accessories folder to view a grid of all of the characters for a specified typeface. Click on the character you want to use and either note the keystroke displayed in the box in the lower right corner of the window or copy and paste it into the publication where you want to use it. Wingdings and Dingbats are common Character fonts.
• Decorative Fonts - Decorative fonts are fonts that do not fit into any other group. These typefaces are reserved for novelty, for special effect, or a special approach. Because they are different, they are usually harder to read than standard fonts, so use them sparingly and always as display type – never as text. Beesknees, Curlz, and Snap are examples of decorative fonts.

Principles of Typography

• Type Size - Type is measured by its vertical height, in points. There are approximately 72 points in an inch, so 72-point type is approximately 1 inch in height on a printed page. 36-point type is approximately ½ inch in height, and 18-point type is approximately ¼ inch in height. Text on a printed page is usually 10 -12 points in size. Any type below 9 points in size is very hard to read.
• Weight - Weight refers to the density of letters, the lightness or heaviness of the strokes in a typeface. It is described as a continuum: light, regular, book, demi, bold, heavy, black, and extra bold. These weight descriptions are used in font names to describe the thickness of their lines. Light fonts are composed of the thinnest lines and extra bold fonts are composed of the thickest lines. Not all weights are available for all typefaces and the continuum occasionally varies in some typefaces.
• Style - Style refers to options such as bold, italic, underline, and reverse, that you can choose as part of your type specifications.
• Leading - Leading is the vertical space between lines of type. It is measured in points and is expressed as the sum of the type size and the space between the two lines. Generally, it is at least the size of the type. Type with a generous amount of space between lines is said to have open leading and type with relatively little space between lines is said to have tight leading. Some software programs, including all desktop publishing programs, allow users to adjust leading.
• Alignment - Alignment refers to the shape of the text block in relation to the margins. Most software programs allow left alignment (sometimes called flush left), right alignment (sometimes called flush right), center alignment, justified alignment, and force justify alignment.
• The Color of Type - Even when printed in black and white, all type has a color on the page. Color here means the overall tone or texture of the type and the lightness or darkness that varies among typefaces and spacing of type.

Typography Tips and Techniques

• Determine the image you want to project with your publication and choose fonts with personalities that will fit that image.
• Limit the number of typefaces you use in a publication. Many experts say to use a limit of two typefaces, but occasionally this will vary. Too many typefaces can create an unprofessional, jumbled image.
• Look at various publications for ideas about which typefaces work well together and the images they project.
• When using two typefaces, make sure they are very different. One typeface will probably be used for display type, such as headings, and the other for text. Strive for definite contrast between the two.
• When choosing only one typeface family, choose one with a lot of variations, so you will have some flexibility with your text design. The typeface Helvetica has many variations such as Helvetica Bold, Light, Regular, Condensed or Narrow, Outline, and Black.
• If you are unsure about which typeface to select, choose a common and reliable one such as Garamond, Palatino, Helvetica, Goudy, or Times Roman.
• When using a display type that has very strong characters (type that is bigger and bolder than regular type), use a typeface for text that looks more neutral. Very elaborate typefaces can be hard to read. Limit their use to only a few words and make sure the words are legible.
• All caps are harder to read than upper and lower case letters. Try to limit the use of all caps to two or three words. Some typefaces, such as Old English, are not designed to be used for all caps.
• Use bold and italic type for just a few words.
• Avoid setting large blocks of text in bold or italic type. Both styles are generally more difficult to read than regular type. A block of bold type tends to darken a page.
• Typeface weight will have a large impact on the color or darkness of your page. Thin lines will create a light and airy appearance, while thick lines will create a dark and heavy appearance. Weight can be very important to the image of a publication.
• Different typefaces take up different amounts of space. Some fonts are larger and take up more space per letter. This can greatly affect the length of a publication.
• The reader’s eye is attracted by white space. It gives the eye a rest and calls attention to what it surrounds.
• Break multi-line headings by phrase (where a spoken pause would occur). Place more white space above heading than below. This signals the reader that the heading goes with the text below it.
• Increase the spacing between lines or leading to create a lighter-looking page.

Design Document

Design document can be defined as...

• A written description of a software product, that a software designer writes in order to give a software development team an overall guidance of the architecture of the software project.
• usually accompanies an architecture diagram with pointers to detailed feature specifications of smaller pieces of the design.
• required to coordinate a large team under a single vision.
• needs to be a stable reference, outlining all parts of the software and how they will work.
• is commanded to give a fairly complete description, while maintaining a high-level view of the software.

And in my personal point of view, design document provide a platform or guidlines for the courseware developer to implement their project to meet the specific objectives

Regarding our courseware project, we have a discussion to construct our design document for our project. the most important part is to know what theory and strategies to be applied in the coursware to meet to objective and the needs.

The design document format are as below: