Well Dell replaced my laptop, but the new one arrived with Windows 8. Guess who hasn’t completed Windows 8 testing. Adobe. New laptop = no Captivate. This has sort of broken my stride with my project, but I hope to get things resolved soon. Update once I got home: my husband found notification that Adobe had certified CS6 with Windows 8. I found online where they say, “At this time, none of the CS5.5 or CS6 applications require updates to be compatible with Windows 8.” That looks like it might only apply to Creative Suite, which happens to include Photoshop and Dreamweaver. However, in the CS6 FAQ Adobe reports, “In our testing, we have found no significant issues with running CS5.5, CS6, or Acrobat products with Windows 8” which does not specify only Creative Suite. I then navigated ot the Adobe eLearning Suite 6.1 FAQ page, but alas, there is no mention of Windows 8 whatsoever.
Okay, back to my project. I managed to overcome my handwriting issue. I created my own KathrynPrint font which I’ll use for the text throughout the project. This allows me to type and edit in my handwriting saving me a lot of image uploads. I’ve really enjoyed this font; I’ve already used it for a couple of projects for my church. I think I’ll make another handwriting font with regular print (as opposed to all the all caps KathrynPrint font).Other than KathrynPrint, most of my progress involved the completion of my stitches for navigation. I also downloaded the Bob Marley’s “Three Little Birds” to bring in to the background. I’m so excited because this is the perfect song to join everything in my tapestry. It matches my grandmother’s response to most worrying: “Don’t worry. It’ll all come out in the wash!” It reminds me of my mother singing the song about the three little fishies to her three babies. I remember playing the song for Laura when she was little and think Addie, one of Laura’s three babies, will love the song too.Now I need to actually bring the audio into the background, enter the desired text for each slide, set up how elements will appear, and determine where I might like for images to move on the stage. Donna pointed out that it might be helpful to include some sort of help option to explain the navigation. I plan to do this, but I don’t want to put so much detail that I spoil the feel of exploration. I’ll try to get that done prior to my dress rehearsal so I have plenty of feedback to evaluate my choices.
In this week’s reading, Krause (2004) captures perfectly my goal for the design of this project. “Strive for thematic agreement between subject matter, components, and composition” (p. 290) to give strength to the design. This will help me to overcome my greatest challenge. Simply showing photographs of my mother, even if I include other loved ones, may not affect someone outside my family. I hope to create something to share the wisdom I’ve been given through the early loss of my mother: we all face challenges in our lives. These painful events do not have to cripple us. Instead, they can weave our lives together with beautiful, dark threads among the bright, vibrant threads of our happiest moments. I would like to convey to others the value of looking forward and backward to see how those we love shape our experiences and hold us together on our journeys. The images and words will help, but composition and other design considerations will convey meaning as well.
On a side note, I am still not quite sure how I am supposed to be as a designer among designers when I in our class. Will someone ask me to see their project or should I be asking them? (I still need to give two more desk crits.) Do I wait until they finish their current conversation? I long to show every single person my project, much like Papert’s girls designing space ships, seeking feedback for each iteration while my tapestry grows, “taking shape through a kind of negotiation between the programmer and the work in progress” (Papert, 1991, p. 4). I looked for myself in Papert’s description of the engineer, but with this personal tapestry project, I am more of a sculptor or a painter, shaping with my Captivate and Photoshop.
For anyone reading this design journal, I’m facing one other challenge that has taken up a fair amount of time: finding the ideal internship. As an engineering student, this was easy; I visited the Cooperative Education department with my resume, interviewed, and landed a job paying at least $20 per hour. This search for an instructional design internship has been a little more convoluted for me. I had a phone meeting with the Bethany Bagley with UGA Career Services and I now have several tangible steps to take. First and foremost, I plan to focus on learning how to use LinkedIn to its fullest potential as a job search and professional networking tool. (Lynda.com even has a course for this!) Then I am signed up to volunteer at the November 29 meeting for the Society for Technical Communicators (STC). I’d recommend any comments that might help me find my way through this labyrinth.
When I began writing this journal entry, I was lamenting that I had not done anything major to report. Now as I prepare to come to a close, that has changed. I took a break from typing and added the Bob Marley audio within Captivate. Then I previewed in a browser. Perfect. Others might not understand how well this song perfectly connects these four who are so dear to me. Maybe that’s where the audience needs to trust the designer just a bit. Don’t worry about a thing. This is my message to you ou ou.
For your enjoyment: Three Little Birds by Bob Marley
Krause, J. (2004). Design basics index: A designer’s guide to designing effective compositions, selecting dynamic components and developing creative concepts. Cincinnati, OH: How Design Books.
Papert, S. (1991). Situating constructionism. In I. Harel & S. Papert (Eds.), Constructionism, (pp. 1-11). Norwood, NJ: Ablex. Available online: http://www.papert.org/articles/SituatingConstructionism.html.