AMY WOO BOOK READING POSTER
PROCESS BOOK
SPRING 2011 . COMM STUDIO II ERIN HAUBER
CONTENTS. WEEK 1. WEEK 2. WEEK 3. WEEK 4. WEEK 5. WEEK 6. WEEK 7. MISCELLANEOUS.
ASSIGNMENT// weeks 1 – 8
metaphor poster comm studio 2 Mon 8 am – 3 pm Instructors Riah Buchanan Katie Hanburger Erin Hauber
Choose a book or story from the list provided. Design a poster for a public reading by the book’s author that uses a visual metaphor as its image. Images of characters and scenes from the book would not be appropriate solutions. And this project is not only about developing the visual metaphor, but learning to integrate text and image. Yes, you must read the entire book.
Lauren Mackler visual metaphor : image or collection of images working together to refer to something that it does not literally denote in order to suggest a similarity; an image that ordinarily designates one thing is used to designate another, thus making an implicit comparison; something used, or regarded as being used, to represent something else; emblem; symbol.
project schedule *
In preparation for the class
Week 4
Read your chosen book.
Due: 15 thumbnails. In-class: Faculty presentation, crit - choose 2 best to develop
required text : Author’s name
Week 1 In-class: Faculty presentation.
Book title
Homework: Finish reading book, write 1 page
Title of the reading Location Time
summary of the book and identify 3 major themes. Bring in 21 color images of a visual metaphor for a theme in the story. 7 per
Date and 1 paragraph
theme, 1 per 8.5 x 11 sheet, original images only, no stock and in the intended medium of
Week 5
summary of the book.
its final form.
In-class: Take 2 posters to full size (24"x 36") with full text. Homework: Finalize 2 full-size posters (black
*
Week 2 Due: Summary, themes and 21 visual
Homework: 2 half-size (12" x 18"), color posters, address visual hierarchy, composition, medium, appropriateness, audience. Include all required text.
Due: 2 half-size posters.
and white, not color).
metaphors. Bring supplies for image-making. In-class: Crit metaphors
Week 6
Homework: Refine and revise 21 visual metaphors. Conduct visual research of the book’s
Due: 2 posters, black and white. In-class: Crit, choose 1 to take to final color
historical context, bring in evidence of
Homework: Final color poster (1).
research (20+ images). Identify and research a contemporary audience for the public
Week 7
reading; be prepared to present your findings.
Due: Final color poster, full scale, trimmed.* Homework: Process book
Week 3 Due: 21 metaphors, 20+ images of historical context research, contemporary audience.
Week 8 Due: Process book.
In-class: Crit, develop name of public reading Homework: Choose 3 of your best metaphors * failure to bring in the final poster and/or an absence results in an “F” for to develop into 15 different, detailed metaphors (5 per metaphor) Address medium, ap- the project. propriateness, audience. Format: 4" x 6" color on 8.5 x 11.
WEEK 1
novel summary
BOOK//
!"#$%&!%"#'$()$!"#$'*#+$,-.$/&0()1#' SUMMARY Catcher in the Rye is a novel narrated by the protagonist Holden Caulfield. The novel takes place in a psychiatric ward of some sort, in first person point of view. Throughout the story, Holden explains how he ended up at the ward and the events that ultimately landed him there. The novel begins with him explaining how is dismissed from his school, Pencey Prep (which his parents do not know if yet). Holden is an extremely sarcastic, and almost cynical character, almost unable to come to terms with the idea of being on the verge of having an emotional breakdown. Furthermore, his loneliness is often exemplified in his attempts to create friendships (e.g with Ackley, and Faith Cavendish). Holden spends much of the time in New York City, where
he books a hotel. During his time in New York, the atmosphere of the book turns dim, as Holden struggles to interact with someone, being not able to seek some form of companionship. He reaches to the point of desperation where he accepts a prostitute for company. Although Holden yearns for friendship, he can’t seem to maintain one. For example, he goes on a date with Sally Hayes and asks to elope with her, but in the end, he makes her upset. As he is attempts to create friendships, he also in the process of accepting adult intimacy and sexuality. By the near end of the novel, Holden is at the breaking point of emotional turmoil – he is disgusted by the profanity scrawled onto the city’s surfaces and feels as though he is going to vanish into thin air. Holden does not fit into the society that surrounds him, and decides that he needs to escape. I read this novel once before, and was quite indifferent about it. However, now that I read it again, it seems like the emotions that Holden feels is quite real, and may apply to teenagers that are in the between of childhood and adulthood. This book really gave me the sense of sadness and loneliness that Holden is subjected to.
visual metaphor examples
WEEK 2
21 visual metaphors
WEEK 2//
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struggle for companionship
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DENIAL OF INTIMACY
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emotional breakdown
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TARGET AUDIENCE. The target audience of my reading for Catcher in the Rye is directed to mid-teenagers (around ages 1418), where the main transitions between the stages of childhood and adulthood meet. The target audience would specifically be in North America, as the expectations of childhood and adulthood may be different in other areas of the world, and in cultures unlike ours. In particular, this reading would take place during a health education / life skills class. By doing so, the students will be able to learn the circumstances of life transitions, without watching cheesy films or listening to awkward teacher lectures. A unique place for this book to be read would be on a new york subway train. This book primarily takes place in New York City, and the subway is one of the transportation methods relied on by Holden. By having the reading specifically on a train will perhaps give readres an understanding of the feelings that the protagonist is trying to convey. Finally, for the sake of young teenagers, it will be more interesting in a museum rather than in a dull classroom.
historical research
WEEK 3
21 revised iterations
WEEK 3//
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DENIAL OF INTIMACY
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emotional breakdown
WEEK 3//
struggle for companionship
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WEEK 4
15 detailed metaphors
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denial of intimacy
emotional breakdown
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WEEK 5
select 2, to develop
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WEEK 6
2 posters tiled, black and white
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WEEK 7
final colour poster
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