ENG 229 1.M: Making a “How To” Video

Today’s Plan:

  • WL #2: A How To Video
  • Review Schroeppel’s chapter on “Composition”
  • More Schroeppel practice
  • For Next Session

Work List #2: A How To Video

This week’s challenge will be working on a “How To…” video. Developing instructions takes us into the realm of technical writing, what in that field is called “documentation.” I’ve put a reading from Mike Markel’s Practical Strategies for Technical Communication into the files section of Canvas.

While learning some principles for documentation is useful, my focus this week is on shot composition. I generally expect these videos to be a “talking head” video that then uses cut-aways and voice overs to walk us through steps. As a boardgame fan, I almost always go to Youtube to search up a “how to play” video before I read the instructions. Commonly, these are “talking head” medium shots with cutaways. But these can also be what I call “lofi”–simply still pictures and voice narration.

Content Expectations
My expectations are that these videos:

  • Will be around 1-2 minutes long
  • They will have an introduction, a materials overview, and a series of at least 4 steps
  • Each step will likely require 2 shots
  • There will be some kind of conclusion that ends the scene

Note: if you are a bit overwhelmed, then it is okay to use still pictures for your cut aways. I will be focusing on shot composition; if it is easier for you to put a voice over a still image, then go for it.
Formal Expectations

The formal expectations all come from Schroeppel’s first chapter:

  • Shots are set up with a tripod (I’ll be looking for camera jiggle)
  • Shots are aligned using the rule of thirds
  • Shots are balanced
  • When possible, shots include angles
  • Shots attend to leading lines and backgrounds

Don’t worry about audio quality here–I don’t expect you to use an external microphone. Those of you with previous experience are welcome to experiment with microphones, but those who are new can simply focus on framing and recording shots. At this stage, shot composition is my core concern.

Review Schroeppel

I think I just did that, since the project expectations are a brief overview of the chapter.

More Schroeppel Practice

To Canvas.

For Next Session

I want to focus first on writing quality instructions before we start shooting video. Developing instructions takes us into the realm of technical writing, what in that field is called “documentation.” I’ve put a reading from Mike Markel’s Practical Strategies for Technical Communication into the files section of Canvas. While Markel addresses video instructions, his practical advice focuses on print instructions.

I’ll ask you to read the Markel .pdf and draft a set of instructions for a simple task for Wednesday’s class. You can use the sample instructions on page 418 as a model–just remember to add a section on what materials someone would need to execute your task. Also pay particular attention to guidelines on pp 411-413 as you draft.

Please print two copies of your instructions and bring them to Wednesday’s class.

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ENG 229 1.W: Working with Adobe Rush

Today’s Plan:

  • A Tip from Steve Stockman
  • Work List #1 Assignment: Introduce Yourself
  • Working with Adobe Rush

A Tip from Steve Stockman

I used to assign Stockman’s How to Shoot Video that Doesn’t Suck book in this class; I switched to the Schroeppel because it offers a bit more aesthetic depth. But Stockman does have three principles worth discussing for our first project: keep your shots short. If you watch a professionally edited piece, you’ll notice that most shots are 3-5 seconds long.

Work List Assignment #1

This first assignment is meant as an introduction to video editing. For some this will be review, for others it will be new. I asked you to record three ten-second clips of yourself doing something. Today we want to edit those clips. So, in a minute, we will fire up Adobe Rush and import your clips into the program.

Expectations:

  • At least 4 shots
  • Shots are between 3 and 6 seconds
  • Shots are lined up using the rule of thirds

Note that you could cut up one of your 10 second clips into two 5 second clips. You could put a slight zoom on them and then either sequence them or separate them.

This assignment is due before the start of Friday’s class.

Working with Adobe Rush

Today we are going to watch a few Adobe Rush tutorials and then you will have time to work on your project.

Hey Marc, if the onboard tutorials aren’t great, this one that you used in 2020 is pretty good.

Super important note about saving and storing assets/video projects

TL;DR: Save your Adobe Project file on a stick drive with all of your video clips. Or save them in a folder and then .zip that folder and upload it to a OneDrive or Google Drive.

Let’s talk about how to avoid the red X’s of death. Two things. First, recognize that there is a difference between a project file, the file you work in to trim clips, add transitions, edit content, etc (the working file) and the file any other person can watch. In Adobe Premiere, it is .prproj. These files can only open in their respective Adobe program, and will NOT work separate from the files used to create them. To share a video project like these, you need to use the export function and convert them into an .mp4 (there’s other video extensions, but .mp4 is the pretty much universal file extension).

One thing you should realize is how video editing softwares work. When you “import” a file into a video editor project, you aren’t actually copying those files. The computer is making a “path” from those files, located in a specific place on a specific computer, to the working file (say, the .prproj file). Those files only get copied when you export the working file into the .mp4. Once exported, a .mp4 file cannot be edited, it is a finished product.

What does this mean? It means if you move the .prproj file, if you separate it from the clips used inside that file, then the working file will no longer be able to find those clips. Where those clips should be, you’ll find red X’s of death (which symbolize File Not Found). Your work will be gone.

What does this mean? It means, when working on a video file, that you have to save the project file and all the assets used in the project (video clips, audio tracks, still images, whatever) in the same folder. Which means if you want to work on video projects in class and then, say, in the library or at home, that you are going to need a way to move files around. There’s two ways to do this.

First, you can purchase a flash drive. Ancient technology, I know. These days you can get a 32 GB flash drive for like 6 bucks. One nice thing is that you can work and save files directly to the flash drive.

Second, you can use cloud storage, like a Google Drive or a Microsoft OneDrive. These are okay, but recognize that you will have to download all the files when you start working in a .zip folder, and then upload them all back up to the cloud when you are done. This can be annoying.

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ENG 229 1.M: Welcome / Syllabus

Today’s Plan:

  • Rule of Thirds
  • Syllabus
  • Homework

First Day: Rule of Thirds

I wanted to open class with an exercise to give you a sense of the kinds of things we’ll be working on this semester. So, first, a mini-lecture.

I consider the sentence to be the most fundamental, stand alone, unit of writing. It identifies a character and describes their action, often providing context along the way.

What is the most fundamental unit of video? The shot. The shot, of course, comes from photography. A quick definition might be how we line up, or frame, the camera. Framing a shot means identifying a subject. And the way we line up a subject starts to tell a story about them. It obviously isn’t as clear as it is in writing a sentence; but the angle, the lighting, the positioning we choose informs the action, provides context, and/or establishes mood.

The most common shot, the most basic photographic syntax, is the rule of thirds. A quick video.

Quick Assignment:

  • Find a partner
  • Learn their name
  • Go outside and take their picture. Practice lining up your shot using the rule of thirds
  • Submit your photo to Canvas

Syllabus

Let’s take a look.

Homework: Intro Video Assignment

Two things:

For your first night’s homework, I want you to shoot and edit a very short video of yourself. Introduce us to something you can do, or something you like, something that you feel makes you unique. This is meant as a low-stakes, diagnostic assignment.

Teaching writing is always tricky, because you never know someone’s previous history with/relationship to writing. People come into a class with widely divergent experiences. I find this is even more so with video. My guess is at least a few people in the class are aspiring or experienced filmmakers and a few people in the class have never shot more than a few seconds of video (we can talk about the differences between film and video later). Some of you probably have experience multi-track editing in Audacity. That sentence probably makes some of you feel a bit panicked. Don’t panic. As I said in the syllabus, this course assumes no previous experience with video. I’ll walk us through every step of the process. But, before I do that, I want a sense of where to start. That’s what this mini-assignment if for.

I want you to shoot three different ten second clips of yourself talking or doing something. This can be eating your favorite food, playing a video game, petting a dog, walking, lifting, running, whatever. I want to be able to work with those clips in class on Wednesday–so I would like you to upload those clips to a Google Drive so you can easily access them in class on Wednesday.

This project might require help from a partner if you do not already own a tripod, because I DO NOT WANT YOU TO BE HOLDING YOUR CAMERA WHILE YOU SHOOT. That is the only strict rule for this assignment.

TL;DR: 3 clips of yourself. 10 seconds each.

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ENG 328 15.W: Working With Data / Bar Graph, Pie Chart, Line Graph

Today’s Plan:

  • Updated Go West Files
  • Making Graphs
  • Go West Crit on Friday

Updated Go West Files

There’s a few new things: first, we have a folder of Go West Logos. Second, there’s a text list of contributor names for the Thank You / Sponsor / Partners page.

Graph Tutorials

Today we are going to follow two tutorials to make 3 different graphs.

You’ll take a screen shot after each tutorial and load those up to Canvas.

For the line graph exercise, we will need some data.

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ENG 328 14.F: Rest of Year; Ethical Treatment of Data

Today’s Plan:

  • Publishing Career Preparation Website
  • Neal Cross Poet: Monday at 7:30 in the Campus Commons [extra credit]
  • Rest of Year Calendar
  • Ethical Treatment of Data Workshop #1
  • Homework

Publishing Career Preparation Website

An email, forwarded to me:

Hello!
It is I, the couped president. I’m just sending this over if you wanted to share it with all the editors over there. This is a resource created by my boss and another person in my department over at the University Press of Colorado. I thought it might be a nice thing to have if any of you Crucible folks want to continue in the world of publishing. Feel free to pass it along to profs and such. I’m sure there is an English major out there who would put it to good use.

It is a nice resource, especially because getting into publishing is really about knowing someone inside the sphere already.

https://pathsinpublishing.wordpress.com/

Catherine King-Burke

Rest of Year Calendar

Here’s the idea:

  • Friday, Apr 14: Ethical Treatment of Data #1
  • Monday, Apr 17: Helvetica Part 2
  • Wednesday, Apr 19: Ethical Treatment of Data #2
  • Friday, Apr 21: Go West Film Crit
  • Monday, Apr 24: Ethical Treatment of Data #3
  • Wednesday, Apr 26th: Go West Film Finals
  • Friday, Apr 28th: Final “Exam”

Ethical Treatment of Data

As we near the course’s conclusion, I want to do a mini-unit on presenting data and information. I’m planning this as a three part series.

  • Workshop #1: What We Should And Shouldn’t Do
  • Workshop #2: Learning How to Make a Graph in Illustrator
  • Workshop #3: Visualizing Some Data

Most of this class has focused on the fundamental “rules” (genre expectations developed/transformed over time) for designing print documents: alignment, typography, color, spacing, etc. Those elements come into play when designing even a simple visualization like a chart or graph. But communicating information, especially to lay audiences, demands ethical attention to scale and clarity. We must resist (and insist other designer’s resist) the temptation to either manipulate for persuasive effect or sacrifice clarity for impact.

We started this course learning Golumbiski and Hagen’s design sins. That is, I introduced design by showing examples of bad design. And so, let’s get a sense today of what not to do. First, let’s just cover the day one basics. Three types of visualizations. What are they used for?

  • Line Graph
  • Bar Graph
  • Pie Chart

And let’s look at Walt Hickey, Senior Editor of Data for Business Insider’s rant against pie charts (which, um, might be the papyrus or comic sans of the visualization world; see his analogies at the end of the article).

From that reading, we can discern a few clear commandments:

  • Thou shalt not complicate (clarity is key)
  • Thou shalt not distort perspective (no manipulation)
  • Thou shalt probably not use a pie chart (unless labeling and emphasizing an extreme discrepancy)

Let us turn to something perhaps more authoritative, A Reader on Data Visualization produced by Michael Schermann’s 2629 Information Science class at Santa Clara. A worthy read all the way through, but we only have enough time today to look at the Ethics section and the Data Visualization Hippocratic Oath.

We should also have time for Ryan McCready’s “5 Was Writers Use Misleading Graphs to Manipulate You.” I want to look specifically at his Going Against Convention section.

As time permits, we’ll look at a few examples.

[Another good analysis that we don’t have time for: Berinato’s “Is That Chart Saying What You Think It’s Saying?”]

A point I want to make: there is no such thing as “neutral” or “objective” data visualization, in the same way that there is no “neutral” or “objective” language we can use to describe an event. Language, as Kenneth Burke reminds us, is a process of selection. Burke:

Even if a given terminology is a reflection of reality, but its very nature as a terminology it must be a selection of reality; and to this extent it must also function as a deflection of reality.

And the consequences of such an observation:

If action is to be our key term, then drama [becomes our key way of understanding/analyzing human existence–humans “narrate” their world to themselves and develop vocabularies that validate that understanding]; for drama is the culminative form of action [since we, by nature, develop “plots” to rationalize all of our actions]. But if drama, then conflict. And if conflict, then victimage. Dramatism is always on the edge of this vexing problem, that comes to a culmination in tragedy, the song of the scapegoat. (“Terministic Screens” from On Symbols and Society 1989)

Here’s a quick something I developed a long time ago to try and prove this point.
Still relevant.

Time for an exercise. The following articles both contain a series of graphs. Using the material I’ve covered today, what do you make of them?

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ENG 231 12.W: Rest of Year Map

Today’s Plan:

  • Rest of Year Map

Rest of Year Map

Hi all. I’ve figured out our rest of year map:

  • Apr 5: Chap 15 + 16
  • Apr 7: Chap 17
  • Apr 10: Chap 18
  • Apr 12: Chap 20 (+21?)
  • Apr 14: Chap 22
  • Apr 17: Chap 23
  • Apr 19: Chap 26
  • Apr 21: Chap 27
  • Apr 24: Chap 28
  • Apr 26: Chap 29
  • Apr 28: Chap 30
  • May 4 [exam period 1:30-4:00pm]: Chap 31+32, Final Google Form

A few notes:

  • I will continue to create writing responses in Canvas, that seems to be the easiest path. I am hoping to reserve the last 10 minutes of class on Friday so we can review the week’s play and generate potential questions together.
  • Attendance is extremely important over these last four weeks of class due to the unique nature of the project. And I expect everyone to attend the Final Exam Session, since it it taking the place of a final paper.
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Red Sox 2023 Season Forecast

Mostly rainly. Very slim chance of sunshine.

Mourning What We Lost

I’ve been dreading writing this season’s preview, if only because it means coming to terms with what the Red Sox have become, which means coming to terms with promises lost. If you just want a preview of this year’s team, skip down to the next section. Otherwise, let’s ride the sad train.

After the 2018 World Series victory, the future promised to be bright. After all, the Red Sox had an incredible core of young talent headlined by Mookie Betts, perhaps the best player to wear the uniform since Ted Williams (Carl Yastrzemski and Wade Boggs have voices in that conversation). Betts, Bogaerts, Devers, Benintendi, and Bradley were young, organizationally-developed players under team control.

Whether through being miserly or through a lack of foresight, the Red Sox were unable to reach a long-term deal with Betts. And so Betts is traded to the Dodgers. In 2021 I wrote that Bloom got a solid return for one year of Betts, but that he should never have had to make that trade in the first place. Between the cost of a ticket and the size of the media market, the Red Sox shouldn’t be losing generational superstars. [Side note: Bloom isn’t popular around Boston these days, and I think part of his narrative will become trading Betts for Verdugo. That isn’t fair–the star of that trade was Jeter Downs, who slashed .269/.354/.507 across 107 games at A+ in 2019. He was a legit top prospect. Why he fell apart after COVID will always be a mystery, but I doubt Bloom could have done anything to prevent it].

I could swallow it because trading Betts supposedly granted us the vaunted “financial flexibility,” which would presumably be used to retain the rest of that young core. Except that isn’t what happened. Bradley always had a questionable swing (hence his extreme hot and cold swings) and was wisely let travel to Kansas City. Benintendi went through a rough patch and was also dealt to KC. I wasn’t as big a fan of this one, but it was certainly defensible at the time. The verdict on this trade will likely be determined this season, as Josh Winckowski fights to hold onto a rotation spot (see my “Fun!/?” list below).

The vaunted “financial flexibility” made available via Betts’ departure wasn’t earmarked for Bradley or Benintendi. No, that money was for extending Xander Bogaerts and locking up Rafael Devers. The latter has been locked up, albeit at probably 30 million dollars more than they would have had to pay had they not waited until the last possible moment to get the deal done. I tend to think that fan reaction to Henry’s appearance at a winter event might have accelerated and finalized those negotiations. Good job fans. Keep booing. But, to close this point: they ended up signing Devers to a 10/313 million dollar deal–which feels like a bargain in the midst of this off-season’s drunk-fantasy-auction-with-Monopoly-money extravaganza. Had they signed this deal last off-season, they could have likely locked up Devers for something more like the 8/260 million dollar deal Nolan Arenado signed with the Rockies in 2019 (say something like 10/285 given Devers’ defensive liabilities).

I’m happy that Devers will be around for the next decade. But Bogaerts is gone. And this is unforgivable. Not that they should have matched San Diego’s 11/280 million dollar deal. That is lunacy. But negotiations should never had reached this point. Last off-season, the Red Sox signed Trevor Story to a 6 year 120 million dollar contract. I wrote last off-season that I questioned this deal for two reasons: first, Trevor Story’s road splits outside of Coors Field were quite mediocre: a .958 in the thin skies of Denver vs. a .739 on the road. For those who aren’t into stats, that’s an almost unheard of difference; the difference between being a Hall of Famer at home and a taking a trip to the Paw Sox on the road. But I noted that he is an excellent defender who immediately upgrades second base, a position in which, after the demise of Downs, they were quite thin. However, I also noted that signing Story feels like an insurance move one would make if you didn’t plan on retaining your star shortstop. And–here’s the kicker–after signing Story for 6/120, the Sox offered Bogaerts a 4/90 million dollar extension. That’s bad y’all. Had they just offered Bogaerts something like 5/120 or 6/145 in place of signing Story then he likely finishes his career in Boston.

The 1975 Red Sox thought their future was bright. After a devastating loss to the Big Red Machine, they looked to a future with Cartlon Fisk, Freddie Lynn, Jim Rice, and Dwight Evans. And due to the miserly Yawkee family, that future was never realized. Imagine the 1986 World Series with Freddie Lynn (who slashed .287/.371/.499 for Baltimore in 112 games) and Carlton Fisk (who, admittedly, had the worst season of his career in 1986. But, jeez, the 1984, 1985, 1987, and 1988 seasons were just incredible). History, it feels to me, repeats itself.

This Team Will Not Be Good, But There’s Some Fun To Be Had

Okay, on to the preview. So ZIPs projects the Red Sox to win 79 games in a loaded AL East. In his write-up, Dan Szymborksi optimistically proposes that the Red Sox could win 82 or more if they can replace Story at second base. Maybe Arroyo can finally break through or David Hamilton can hit enough to hold the role (more on Hamilton below). But–understand this dear reader–82 wins is very likely the ceiling for this team. That ZIPS projection expects 26 starts from Chris Sale, 23 starts from James Paxton (lol), and 28 starts from Corey Kluber. Dear reader–dearest reader–if you believe this will happen then I, in the words of Charles Benea, have some lovely beachfront property in Florida that I would like to sell you. Cash only.

No, this team probably can’t hit enough and certainly can’t pitch enough to compete in a division with the Yankees, Rays, Blue Jays, and Orioles. There’s a longer post I want to write about how Bloom likely took this job anticipating a fire sale in 2021. He could trade Eduardo Rodriguez, Nathan Eovaldi, JD Martinez, and Matt Barnes for soon-to-be MLB ready talent to reload for 2023 and beyond. But, surprise! The Red Sox got off to a red hot start in April that season, going 17-10 in April and 18-10 in June. The team stopped over-performing in July (13-12), but any idea of a tear-down was out of the question. Instead of selling, we made a nice acquisition (Schwarber) at the deadline and had a wonderful and miraculous win against the Yankees in the post-season. Fun!

But the general awfulness of this season’s projections is, in part, the price of that fun. Dombrowski’s terrible drafting leaves us with a minor league system with very little talent at the upper levels. Bloom has done a nice job drafting and developing young guys, and the future–say 2025 and beyond–is bright (Marcello Mayer at SS, Nick Yorke at 2B, Miguel Bleis at RF, Blaze Jordan at 1B are some of the brightest prospects). If there is fun to be had this season, and I think there might be, it will be watching some of the other young players who are either at or near the major league level. Although part of the fun will involve learning the answers to critical questions that might just as easily induce sadness rather than joy:

  • Tristan Casas: Wow! What an eye. Casas has been at the top of the Red Sox prospect list for years now, largely due to his masterful command of the strike zone (hence why he is slated to lead off despite having virtually no speed… in a season in which rule changes should drastically increase the value of stolen bases… but I digress). What’s fun to watch here? Can Casas also hit for power? If he can, his ceiling might be Joey Voto, and that would be super fun! If the power doesn’t develop–and he rarely showed it in the minors–then we might be more in the line of Yandy Diaz. But, Marc, you plead, I have never heard of Yandy Diaz. Exactly–less fun! Way less fun!
  • Brayan Bello: Bello starts the year on the IL with a dreaded forearm injury, often a precursor to Tommy John surgery. But–fun!–Bello is expected to be back with the Sox by mid-April after a rehab stint in Worcester. Below has incredible stuff, averaging more than 12 strikeouts per 9 innings over his minor league career. But he also tends to have no idea where the ball is going. So, question: Can Bello improve his command? If so–fun!–we might have developed our best starting pitcher since Roger Clemens. Yeah, that was a long time ago. If control continues to elude him then we might have something more along the lines of Ubaldo Jimenez. Way less fun!
  • Josh Winckowski: As I noted earlier, Winckowski is the best asset we received in the Benintendi trade. He made his debut last year at age 24 and, um, really failed to impress. Let’s look at a picture:

Winckowski’s AA and AAA numbers with Boston are significantly better than his major league numbers. At AA and AAA he struck out almost 9 batters per nine innings while walking about 2.7.

  • Wow! Those AAA numbers are really fun! In many ways, Winckowski is the opposite of Bello–he has outstanding command and solid movement, but lacks dominant velocity. As those numbers in 70 innings last season who, he isn’t likely to miss a lot of bats. But he should be able to lower the walk rate and avoid hard contact. So, question: can Winckowski be good? Fun?
  • Adam Duvall: Not a prospect. But there’s certainly questions about Duvall. At his best, he’s been an All-Star who hits home runs to the moon. But, um, CF? While a good corner outfielder, that seems kind of shaky. Especially at age 35. And he tends to strike out a lot. Like, A LOT. But, questions: Can he actually play CF? Or will this provide comic relief? And can he hit 30+ home runs again (he’s done it three times)? Or is this one of those 16 home run seasons (which he’s done 3 times). Does he strike out more than 30% of the time (3 times)? Or less than 27.45 (4 times). So many kinda maybe sorta oh-my-god-I-am-digging-here “fun” questions!
  • Ceddanne Rafaela: Unless you are an incredibly die-hard Red Sox fan, you likely have never heard of Rafaela. He wasn’t even on Fangraphs’ 2022 Top 51 Red Sox prospects list. But, after moving from SS to CF last season in the minors, and developing from a really mediocre minor league hitter to a monster in A+ and AA last season, Rafaela is likely to be near the top of Red Sox prospect lists this year. I didn’t include him in the list of future stars above simply because it seems inevitable that he will debut in 2022 given our lack of depth at center-field (see the Duvall questions above–dear reader, I am pessimistic about Duvall, but trying so hard to find some fun!). Rafaela might not hit at the major league level, but he will be an incredible defensive center-fielder the first day he start out there. Highlight catches are fun! Ask Jackie Bradley!
  • David Hamilton: Time runs short on me, so I have to wrap this up. David Hamilton was the real return in the Hunter Renfroe trade last off-season. Recall that the trade also reunited the Sox with Jackie Bradley and his lack of production and onerous salary. Hamilton was the reward for freeing Kansas City from paying Bradley. What did we get? An “overage” prospect who had modest but acceptable slash lines for a middle infielder in A+ and AA ball. What? That doesn’t sound fun. Well dear reader, he has also stolen 122 bases in two minor league seasons (220 total games). HA! FUN! Listen, as is obvious, I don’t think this team has any chance to compete in 2023. And I don’t think Christian Arroyo is the answer at second base. He’s a nice platoon player, but probably not a significant every day contributor. And this Red Sox team has virtually no team speed. Please, please, please, promote Hamilton and let him hit 9th every day. Upon his arrival, he will be the fastest player we have ever seen in a Red Sox uniform. In a season that promises to be frustration (you can already hear sadness in Joe Castiglione’s voice) give us a Willie Mays Hayes. I don’t care if he will hit for shit. Stolen bases are fun!

There’s some other potential fun things: Can Garrett Whitlock develop into a starter? can Bobby Dalbec ever learn to hit a high fastball? Can Yoshida hit enough to play corner outfield in MLB (I am optimistic about this one!)? Will this be the year that Jansen’s arm just falls off in the middle of an inning? But, alas, I have run out of time for this piece, and so “Publish” I will hit.

Wrapping Up

So. A quick wrap up. The Sox are largely a conglomeration of contracts meant to show fans that ownership is willing to spend money. But those contracts aren’t going to add up to a lot of wins, and the players getting paid aren’t, by and large, the players we want to watch in a Boston uniform. My guess is that this team wins around 75 games, below the ZIPS projection, in part because I expect that they will do their best to sell any viable players at the deadline this year. A repeat of 2021 feels very, very unlikely.

But there’s a lot of potential fun to be had watching this team this year, so long as you don’t look too closely at the final score of the standings.

(And, Nick, you are welcome).

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ENG 328 12.W: Typography, Table of Contents

Today’s Plan:

  • Typography
  • Table of Contents
  • Page Numbers
  • Crit on Friday

Typography

Now that you have a considerable amount of our copy threaded into InDesign, I want to spend some time revisiting the basic elements of typography and addressing how we might adjust our text.

  • Body Copy Font Choice (Let’s check out TypeWolf)
  • Font Pairings–Creating Hierarchy Between Title, Author, and Body
  • Alignment: You probably shouldn’t justify your text
  • Font-Size: Typically body size for a literary magazine is 10 to 11 pt, depending on font-size. Once you have a body size, you can use a modular scale to determine heading sizes.
  • Leading/Line spacing: [note: the higher your x-height, the more you should try bumping your leading up; generally leading is set between 1.2 and 1.5–also, the more leading, the more pages, the higher the cost of production]. Real Talk.
  • For prose: line-length. How many characters for a printed line of text? (Answer less than 75). But wait:
  • Adjusting tracking (general spacing between letters) to improve readability and (hack) eliminate orphans.
  • Headings: Adjust Kerning (metrical vs. optical)

Table of Contents

Layout > Table of Contents

The magic needed to automate tile and author was not worth the aggravation. So, we can just edit the ToC once it is generated.

Page Numbers

Master Page. Insert > Special Character > Marker > Current Page Number. Then create a new paragraph style with Indent set to “Away from Spine.”

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ENG 231 11.W: Miguel Sicart’s Work on Ethical Gaming

Today’s Plan:

  • Test PollEverywhere
  • Miguel Sicart

Test Poll Everywhere

Okay, let’s see how this goes: can you access PollEv.com/marccsantos762?

Miguel Sicart’s Work on Ethical Gaming

When I teach Sicart in ENG 225, I focus on three dimensions of his work, three areas/components he identifies as central to developing ethical game play:

  • Player Complicity
  • Wicked Problems
  • Reflection

I have mentioned these components several times throughout the course–particularly the notion of complicity–but today I want to present them a bit more formally and think about how we can (to flip a Bogost term) “proceduralize” or “operationalize” them. What are these concepts and how do we turn them into a heuristic? That is, how do we turn them into questions we can ask of developers, ourselves, game narrative, and game mechanics? What should developers do if they want to develop ethical games? What responsibilities fall on players?

For homework, you read Sicart’s 2013 article on “Moral Dilemmas in Computer Games.” The questions in the “quiz” are meant as prompts to propel today’s exercise. Let’s begin there.

  • Question #1: What *design* features encourage or discourage ethical gameplay? [Follow-up for class on Wednesday: What can developers do to intensify ethical gameplay?]
  • Question #2: What is required from players for gameplay to be ethical?
  • Question #3: What are wicked problems? What are their distinguishing characteristics? What makes for a “good” (from Sicart’s perspective, perhaps “intense” would be a better term) wicked problem [Follow up: what is a tame problem]?
  • Question #4: What is Sicart’s critique of contemporary game design? What problem does he see with a lot of games that claim to be using Meier’s theory of player agency and decisions? (see 33-34).
  • Question #5If designers include more authentic wicked problems in their games, then what complaints can they anticipate receiving from players? (see 36-37).

One passage of importance: bottom of 31.

In his book, Beyond Choices, Sicart offers a useful expansion on wicked problems. Let’s take a look.

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11.W: Crucible Design Project [Nuts and Bolts]

Today’s Plan:

  • Design Inspiration Revisited
  • Link to Materials
  • Project Timeline
  • Design Deliverables and Expectations
  • Resources / Saving Files
  • Working With Master Pages

Design Inspiration

Mea Culpa on the end of last class.

Link to Materials

Here it is.

Project Timeline

Here’s the plan:

  • Monday, Mar 20: Project Intro
  • Wednesday, Mar 22: Copy and Materials, setting up a template and Master Page
  • Friday, Mar 24: Team Work Day
  • Monday, Mar 27: Team Work Day
  • Wednesday, Mar 29: Developing a Table of Content [Note: most text should be flowed by this point]
  • Friday, Mar 31: Crit
  • Monday, April 3rd: Team Work Day. Projects due Monday April 3rd at midnight

Crucible Design Project Expectations

For this project you will submit a Google Drive link to a folder that contains the following:

  • .indd and .pdf files of your Fall 2023 Crucible layout
  • .psd and .pdf files of your Fall 2023 Crucible cover (front and back using Lulu template)

Final due date absolutely no late exceptions: Monday, April 3rd at midnight by 1:15pm

Design Checklist:

  • Content (particularly tricky things: NOTE THIS HAS NOT BEEN UPDATED)
    • Formatting a Table of Contents [look at 2019 and 2020 examples for layout]
    • Page Numbers
    • Image Credits
    • Crucible logo (back cover)
    • Title Page (follow comment instructions. sigh)
    • Dodd-Pheromone Trails-concrete poem
    • The Current- Dylisia Jae: two column layout (we can adjust line height)
    • Cellular Death- Katrina Johns-concrete poem
    • Baggage: do NOT use an ugly image, write it/space it out
  • Typography
    • Font selection and balance [mix at least two different fonts / title / author / body copy / footer]
    • Should you justify your text?
    • Font size [likely 10-11pt depending on style]/ kerning-tracking-leading / Use a modular scale [I’ll be paying attention to how your typography scales]
    • Leading/Line spacing [note: the higher your x-height, the more you should try bumping your leading up; generally leading is set between 1.2 and 1.5–also, the more leading, the more pages, the higher the cost of production]
    • Line length (how many characters per line? Be sure for print not web)
    • Dealing with Orphans–I hope to cover this in class next Wednesday
  • Other Design Stuff:
    • Backgrounds and bleeds (zine format: we’re paying for color printing with [crucible folk?] full bleeds–make sure your design takes advantage of this throughout the document)
    • Strategic use of color / Developing a color scheme [more than just images should be in color, and we have free reign to do a bleed.]

Resources / Saving Files

Of central importance: how to handle your image files. There’s two ways to approach this.

  • Method 1: “Place” Images Using a Flash Drive. You can simply download the resources folder I have provided you. Place your InDesign and Photoshop file in that folder. You can now simply Place images that are in the Resources folder into the InDesign document. You will upload your entire folder (as a .zip) at the project’s conclusion. The advantage of this method is that you can edit an image in Photoshop and any changes will automatically update in InDesign, since you are working with a “linked” file.
  • Method 2: “Embed” Images. You can also choose to Embed images rather than Place them. This method has the advantage of creating a copy of the image in the InDesign file. Potential downsides: this will make your InDesign file considerably larger, which may or may not become a problem with a project of this size (this depends on things like the size/resolution of the images). This method also breaks the link with Photoshop.

Professionally, you are much more likely to work on projects that use Method #1.

Working with Master Pages

To help kick start this project, I’ve set up a template to get you started. To do this, I created a new document with the following settings:

Setting up a booklet design for 8.5 x 11.

I then set up a very simple Parent Page for the document (these used to be called Master pages). This page only has a reserved space for the Footer (which will be the page number and the contributor’s name).

Master pages can be incredibly powerful in InDesign, but also frustrating and confusing. Often I have found students prefer simply copy and pasting existing pages to tinkering with a Master. The benefit of Master pages is that if you make a change to one page it will effect every page of that type.

One thing I learned from last time we did this was to pay special attention to paragraph styles as we are developing the document. Paragraph styles are an essential part of professional editing and technical documentation, since you are basically “tagging” (coding) information so that it can be processed en masse. For our project, we will be using paragraph styles to automate making a table of contents.

We will have a decision to make down the line:

  • A very simple ToC simply has the title of the work and the page number. There’s a number of straight-forward tutorials for this. Basic carpentry.
  • A more complicated ToC has the title of the work and the author’s name. This might require sorcery.

Everyone will prepare for sorcery. What does this mean. It means that you need to create two special paragraph styles:

  • Title of Work
  • Author Name

You will apply those two styles to every piece in the edition. This might be a bit disorienting, so let’s walk this through this together.

  • Create a Title field
    • Open the Paragraph Styles box; add it to your workspace
    • Name Paragraph Style
    • Set a Paragraph Shade
    • Set Indent to Away from Spine
    • Turn off Baseline Grid
  • Create an Author field
    • Set Indent to “Towards Spine”
    • Text Box Option > Align > Center
  • Create Text Box
    • Adjust Tracking
    • Space After Paragraph Option
    • Justification
  • Hack For Master Pages–using some guide lines
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