Computer Graphics One Fall 08

Session 20 [Wed 101208] - Final Requirements

noreply@blogger.com (James Gosling) — Thu, 11 Dec 2008 00:14:00 +0000

Quiz Answers
Answers to final quiz here

Final Requirements - due Friday 121208
Please submit the following for final grading -

Three final printed designs as specified in Keyword:Iconic Stage3 brief
Folio of supporting work showing the clear chronological development of your project though the three stages.
Digital Folder of all important production files clearly organised in sub-directories inside a main Keyword:Iconic job bag Folder

Session 19 [Mon 081208] - Quiz/ Stage 3 Briefing/ Thumbnail Review/ InDesign Setup

noreply@blogger.com (James Gosling) — Tue, 09 Dec 2008 23:12:00 +0000

Quiz
Postponed due to low turn out and late arrivals. Final quiz will now take place at the beginning of Session 20.

Stage 3 Briefing
For those who were not present for the final briefing, please read the Stage 3 brief carefully before next session if you hope to achieve a satisfactory finish.

Keep studying existing album art for interesting combinations of type and image, purely typographic designs, and pure image designs.

Thumbnail Review
Many thumbnail sketches are anticipated for Session 20. The best of your sketches need to go into production ASAP.

InDesign Setup
Time for a look at Packaging inDesign Files with Nate's early Stage 3 presentation [thankyou Nate].

Use InDesign as a sketchbook as shown earlier on in the term. Bring artwork [Photoshop] and final type solution [Illustrator] to the 12" x 12" file and start to compose based on the layout of your most interesting thumbnails.

Session 18 [Wed 031208] - Keyword Iconic Stage 2 Review/ Preparing Thumbnail Sheets for Stage 3

noreply@blogger.com (James Gosling) — Mon, 08 Dec 2008 02:18:00 +0000

Homework First
Four things -

Familiarise yourself with your InDesign notes from the first few weeks of term.
Use thumbnail sheets to compose as many image and type combos you can think of.
Prepare for a 10 question final quiz for Session 19.
Finally, keep studying album cover art looking at examples of artwork employing image and type together, image alone, and purely typographic cover art.

Session 17 [Mon 011208] - Example Stage2 Presentation/ One-To-One Work In Progress/ Third type Approach - Style Variation

noreply@blogger.com (James Gosling) — Tue, 02 Dec 2008 14:18:00 +0000

Homework First
Thankyou Nate for your well-delivered early presentation. Very useful for you guys to get a preview of a stage 2 presentation.

Please prepare a strict 15 minute presentation of your three type solutions for Session 18 [Wed 031208].

Also, read the Stage 3 brief [available to the right] before class.

Third Type Moment - Style Variation
We had a brief moment to look at font styling variations at the end of this session. The webpage of typeface styles and variations is accessible from the link below or to the right.

Style Variation Approach

Session 16 [Wed 261108] - Brutal Type Demo/ Hands On/ One To One

noreply@blogger.com (James Gosling) — Sun, 30 Nov 2008 00:00:00 +0000

Homework
Please put in 4 hours of intense Gentle/Brutal type work/experimentation - try out the techniques you saw demonstrated in class working toward your 3 type solutions for first half of Session 18.

There will also be a quick quiz at the beginning of the next session [Mon 011208].

Brutal Type Treatments

Session 15 [Mon 241108] - Keyword:Iconic Stage2 Briefing/ Sourcing & Installing Fonts/ Glyphs/ Careful Type Assessment

noreply@blogger.com (James Gosling) — Mon, 24 Nov 2008 23:06:00 +0000

Homework
Today we got back on track with a very efficient beginning to K:I Stage 2. Thankyou all for your focus today.

For Wednesday you are required to apply careful type parameters to your chosen copy. Remember to steer clear of the artist name as your text and to use Album/ Song titles, lyrics, associated words and phrases. Please collect what you do in Illustrator and refer to the Gentle site for a reminder of possible parameters to test your word against.

Sourcing & Installing Fonts

Sourcing Fonts: To the right, as you already know, you will find sources for commercial, freeware, and shareware fonts. You also have access to the AIU fonts in your user login. There are online resources for converting your handwriting into a type-able font, although there may not be time to take advantage of such services this term. Finally, there are font-finding resources to help you locate most fonts you might need. These final resources are likely to serve you well if you choose to make a career of Graphic Design or related discipline.

There are 3 principal type technologies for Apple computers - Postscript, Truetype, and Open Type formats. These three formats represent the history of fonts on your Mac. The most recent format, Opentype gives you access to tens of thousands more characters or glyphs per font than either Postscript or Truetype. However, there are many more available Postscript and Truetype fonts than there are Opentype, as it is a younger technology.
Font Installation: There are two key locations that should concern you when it comes to font installation. The System Font Directory and your User Font Directory. The first you should know enough about to leave it alone and the second should be used to house all your self-installed fonts.

Installed with OSX is the rudimentary but powerful font management application, Font Book. This, along with Extensis's Font Doctor program used to check for corrupt font files, is all you need to control the fonts on you system.

To install fonts on your mac, locate the font file in the finder and double click the file icon. You will be shown a sample window of the typeface to be installed. Just click the install button to open Font Book and install the font. The font is automatically put in your User Font directory [User>Library>Fonts]. Take some time to investigate the key features of font book.
Text Input: Once installed your font is now available to any application that uses fonts on your computer. It will appear in the font list. In Adobe Illustrator, the focus app of Keyword:iconic Stage2, pressing Apple T will activate the Character panel. The font list available via this professional type panel shows you the font name in the style of the face and also provides icon indicators for the font format. Useful.
Pangrams: We also looked at pangrams as part of our quick tour around Font Book.

Glyphs
In both Illustrator and InDesign you have access to the Glyphs palette [Type > Glyphs]. You will never again want for a particular punctation, ligature, or symbol!

Gentle:careful Type Procedure
[Please refer to your notes for this segment for now]

Session 14 [Wed 191108] - Stage1 Review Part 2

noreply@blogger.com (James Gosling) — Sat, 22 Nov 2008 09:14:00 +0000

Homework
Due next session

500 word Stage1 written review of Progress so far and here you might go from here.
Type examples - starting to build Stage 2 research
Also, read the Stage2 brief and get re-acquainted with Illustrator ready to take on the next part of the project

Stage 2 Review
Strong showing of concepts from Hatice, Angga, and Nate. Thankyou.

Nour - I hope you have a better understanding of where you need to take your work now. Looking forward to the results on Monday.

So far I have only received complete folios from Hatice and Nate. The rest of you [Henrique was away,so Pin, Nour, and Angga this applies to you] left without giving me your project work. Unfortunately this counts as a missed deadline. Please ensure that you have your work on Monday, ready to hand in, along with the relevant digital files.

See you next time.

Session 13 [Mon 171108] - Stage One Critical Review - Part1/ First Task for Stage Two

noreply@blogger.com (James Gosling) — Tue, 18 Nov 2008 16:26:00 +0000

Homework

Your first task for Keyword:Iconic Stage2 is to root out interesting examples of typography both good and bad. At least five pieces please.
Also, from the link on the right please download and read a copy of the Stage2 brief. Even start developing ideas for type solutions to go with your final chosen concept/style
Finally, you are asked to write a 500 word piece describing the response to your stage one work. Tell the reader where you are intending to go next based on the feedback you received in the crit; which existing solution, combination of solutions, or even a new direction you wish to pursue in the next 2 stages - Typed text is due on Mon 241108

Stage 1 Review

Strong performances this session from Pin and Henrique. Thankyou.

Some interesting developments afoot with Nour as the possibilities in her paintings become ever more apparent.

Nour will re-present in Session14 after Hatice, Angga, and Nate have presented their work.

All folios and digital files must be submitted for grading at the close of Session14. Thankyou.

Make Up #2 [Fri 141108] - [Making Up for Cancelled Session 12] Preparing for Stage1 Deadline

noreply@blogger.com (James Gosling) — Sun, 16 Nov 2008 10:21:00 +0000

Homework First - Preparing For Deadline Stage1
Prepare files for stage 1 deadline and next session's [Mon 171108] presentation.

To remind you, the following 3 components are expected next time -

Concept Visuals - evidence of 3 routes toward meeting the challenge set by your chosen music in the form of digital files stored on a CD, DVD, or external device ready for loading onto multiple computers. [Alternatively, 3 prints on A3 for wall mounting.]
A physical A3 portfolio with accompanying, exceedingly well-organised digital folder - the physical folder should be made up of brainstorm materials, sketches, moodboards, evidence of experiments with Photoshop, and anything that tells the story of how you have developed your Keyword:iconic project so far. Digital Folder should include any unprinted reference materials, photoshop experiments/trials, your layered Photoshop production files and associated print files.
Accompanying music - it is important that the group hears a selection of the music you are illustrating.

The following is also advised -

Written work - Please rehearse your presentation and make sure you are prepared to answer any questions on the meaning of your work and how it relates to the chosen music. After the session, you will be asked to write a record of, and response to, the group critique of your concepts. It is recommended and will no doubt reward you in the long run, if you plan for your presentation with the aid of a text.

Session 12 [Mon 121108] - Quiz #2/ Selection Techniques - From Basic to Intermediate

noreply@blogger.com (James Gosling) — Thu, 13 Nov 2008 15:07:00 +0000

Make-Up Class
To make up for the cancellation of Session 11, Fri 141108 is a make up day. We will start at 2:00pm as usual. This is a chance to gear up for the concept presentation on Monday and to answer any concerns you have about preparing the chronological folio of research and all other preparation work.

Also, to accompany the folio, in a folder of well organised digital files, you should be evidencing most, if not all, of the techniques outlined and demonstrated in class, deployed by yourselves in Photoshop files as experimental try outs or as final concept development files.

Quiz#2 Answers
Answers here

Selection Techniques
The heart of today's class was selection/masking techniques.

Marquee, Lasso - the usual suspects. These are a halfway house to any decent selection. The Marquee comes in Rectangular and Elliptical forms. Try out the Octagonal and Magnetic versions of the Lasso. Use Shift M or Shift L to cycle through the respective tool sets.

Magic Wand - another usual-suspect selection tool. The magic wand is at the root of the remaining selection techniques seen today. By setting the Tolerance levels to multiples of eight you can increase or decrease the amount of pixels selected. A fair starter selection tool when you have a clear background but there are better tools for the job.
However, as with many of the following tools, creative possibilites abound if the tool is used experimantally.

Replace Color and Color Range [We didn't have time for these today. Try them out in your own time.] - Using an eyedropper/fuzziness slider combination, clicking in the dialog box preview, or in the main image, you can choose and refine a colour or series of colours to change in the Replace Color command. Using Hue/Saturation style sliders in the Replace Color tool, the colour, saturation, and lightness of the chosen colour can be altered. Alternatively, using a similar eyedropper/ fuzziness slider model, selections can be generated with the Color Range command.

Background Eraser Tool [Again we ran out of time for a demonstrationof the Eraser tools but try them for yourselves] - A tool introduced in Version 5 of Photoshop. By sampling a single colour or via the continuous sampling of colours as you erase, the background to your desired element can gradually be removed. Use the Option bar to choose the sampling options. This Background Eraser tool becomes more powerful used in combination with Extract and the History Brush

The Extract Filter and History Brush - I do not have space here to give you a detailed description of how to operate the Extract Filter. Please refer to your notes or the Photoshop Help menu. Recall, that using the TouchUp tools inside the filter's window, you can refine your edges. Once back in the Photoshop File Window, use the History Brush/ Background Eraser to restore/ remove further parts of the image. Photoshop doesn't get much more powerful than this tool combo.

Other Selection Features - In the Select menu there are tools for Expanding and Growing a selection. You saw how to Add and Subtract using any of the above tools with the Shift and Alt keys respectively.

Checking the State of a Selection - As you saw, the Extract filter allows you to check the current state of your selection without committing to it.

With other selection tools you can try the following procedure to see how it's going. Copy your selection [Apple C] to a new document [Apple N - no need to check the values], paste the selection [Apple V] - So far, these steps alone constitute a good technique for isolating image elements in their own new file.

To complete your selection check, fill the background layer with a 50% grey [Click on foreground swatch, choose a mid grey, and use Apple Backspace to fill the layer with grey] Your selection edge will be clearly evident against the neutral grey. Alternatively, paste your selection to the background you know you are going to use. Next, use or continue refining your selection.

Quick Mask and Pen Tool - Today's class was about some of the less well known selection methods. The tools shown today are also capable of being used for some adhoc creative effects. Feel free to add the use of the Quick Mask [Covered today in depth] and the Pen tool [Not Covered today but please use if it is within your repertoire.]. Otherwise enjoy the results achievable with the tools above.

And Remember - quality selections should take time. Up to 70-80% of the work on any montage.

Quick Fill

A personal favorite of mine - the fill with background/ foreground colour shortcut.
Use Alt Backspace to fill with the background swatch colour. Use Apple Backspace to fill with the foreground colour. Easy. Great for quick graphic silhouettes of previously photographic objects/elements.

Anti-aliasing

Finally, today we also covered the difference between a jaggy and an anti-aliased selection. I'll leave wikipedia to explain this one. Try not to fall asleep!

Session 11 [Mon 101108] - Class Cancelled

noreply@blogger.com (James Gosling) — Mon, 10 Nov 2008 14:14:00 +0000

Apologies - due to adverse weather conditions [torrential is not too strong a word for the rain outside my window] I am unable to reach the AIU today and have had to cancel the class.

Hopefully, you will have already been informed of the cancellation before you venture out into these cataclysmic downpours [alright, that was a bit excessive].

We will make-up today's lost class on Fri 141108.

Also, the on-screen crit for the 3 concept boards will now take place on Mon 171108

There is definitely going to be a Quiz first thing on Wed 121108, so get to class in good time.

You can email me at jgosling@aiulondon.ac.uk if you have any concerns [such as - Why is this entry in italics?].

Session 10 [Wed 051108] - Handling Digital Sources/ Setting Up Print & Screen Presentations/ Production & Proofing

noreply@blogger.com (James Gosling) — Wed, 05 Nov 2008 22:06:00 +0000

Session 9 [Mon 031108] - Critical Review/ Research/ Brainstorming/ Possible Concepts/ Photoshop Work To Date

noreply@blogger.com (James Gosling) — Wed, 05 Nov 2008 22:01:00 +0000

Make Up #1 [Fri 311008] - Line Art Techniques Continued

noreply@blogger.com (James Gosling) — Sun, 02 Nov 2008 17:22:00 +0000

Homework
Please refer to last blog entry for homework instruction. It's an important discussion class next session, so be prepared.

More Line Art Techniques
We covered a lot today. Thanks for your concentration and energy. Outlined below are the things we tried this session –

Different levels of Threshold Adjustment command were used to create layered line art for screen-print style overprinting.

Image > Adjustment > Hue And Saturation[Apple-U] was demonstrated to enable shifting of the Hue, Saturation, and Brightness of your art. You saw how to make a faked Duotone effect a la Reid Miles' portraits for Blue Note Records.

You also saw the Image > Adjustment > Levels command [Apple-L] and were shown a rudimentary use of it to improve the contrast in an image.

Holding down the Alt key as you access the Levels or the Hue/Saturation Command [Apple-Alt-L/ U] allowed you to access the previously applied settings for a consistent/continuous effect.

You saw how to blend using different line art sources. Also, the This Layer/ Underlying Layer feature [accessed by double-clicking on the blank part of a Layer in the Layer Palette], helped to hide parts of the image without the need to delete anything from your images.

The Transform tools were accessed for Scaling, Rotating, etc. The Apple-Zero shortcut can be used to zoom to the Transform control handles if they are hidden from view.

In the second half of the class, after seeing a scanograph blended into the line art mix, we got a little closer to a genuine line art technique using Image > Mode> Bitmap on a scanographic image. We got as far as defining a pattern [Select an area of your image and goto Edit > Define Pattern] and applying it as a Custom Screen effect via Bitmap mode. Remember to change to Greyscale prior to Bitmap mode, and be sure to raise the resolution of your art in the Bitmap dialog box.

That's all! See you next time.

Session 8 [Wed 291008] - Digital Imaging Process Outlined/ Image Source - Line Art Examples, Scanning, Correcting

noreply@blogger.com (James Gosling) — Thu, 30 Oct 2008 15:31:00 +0000

Don't Forget
Please don't forget to attend the make-up class this Fri [311008] 2:00 - 4:00pm. Thankyou.

Homework
Prepare for next scheduled session, without fail, the following -

Since the Keyword:Iconic project began you have been -

thinking about your chosen audio
researching existing music graphics
gathering associated imagery to construct your initial photomontage

This week, you have been -

creating word association maps - both lateral and rational [see links at right]
making visual notes and sketches too no doubt

Finally, you have started -

your second montage compositing Line Art and Scanography

The next session is the time to bring all of the above to class for group discussion in order to begin finalising the three clear concepts required for your first deadline [November 10]. Please bring your music to the Session 9 as well.

There follows a round up of Session 8 content -

Digital Imaging Process Outlined
Six key imaging moments in the production of a digital montage were defined.

sourcing images
making corrections
masking areas/ selections
compositing
styling/ effects
proofing and fine-tuning

Scanning — General Rules
First CLEAN THE GLASS! And centre objects or images on the platen for optimum scanning area.

When intending to enlarge a scanned image in the final montage remember that any post-scan scaling will effect the final quality of the image.

Today you learnt a formula for ascertaining the correct scan resolution:
Final Artwork Resolution x Scaling Factor = Scan Resolution

It pays to make actual size roughs — whether in analogue or digital format — to assess the destination scale of your montage component. Accurate rough are a great help to the Art Director too.

Remember to turn off any scanner features that will compromise your raw scan — Autotone/ Sharpening
Only use the Descreen option on Halftone Images [Books, magazines, and other printed matter].

Save your scan in PSD format, and set up project folders at the same time, if you have not already done so.

Quick But Effective Image Corrections
As a first, quick correction method, a few sessions back, it was suggested that any drop in tonal or color quality may be addressed by duplicating the background layer in the Layers Panel and applying a blend mode of either Multiply, Screen, or Overlay, the three key Modes upon which most others take their cue. Here a traditional compositing tool is used for correction work to good effect. Alternatively excursions to Levels, and various Auto features in the Adjustment menu can be made for more involved correction.

Avoid the use of the Brightness/Contrast command prior to CS3. Any excessive use of adjustment/corrction tools can downgrade your image. Always apply adjustments to duplicate layers [or Adjustment Layers if you know how to use those] as via the Opacity Slider and Blend Modes you can reduce a heavy-handed tonal correction.

If using multiple layers to correct an image, remember to use the Copy Merge command or shortcut [Apple Shift C] rather than the basic Copy command, to create a Stamp Visible version of the improvements you have made prior to pasting in the new location.

Setting Up New Canvas
Again today you saw initial compositing move of setting up a final artwork canvas, much as you would use a clean sheet of paper/ board to paste cut-out elements onto for a traditional montage. Unlike traditional montage Color Mode and Resolution must be set as well as final artwork dimensions.

It makes a digital imaging life so much easier if you remember not to use any of your raw scans as a final artwork canvas. By keeping these in their originally digitized state and setting up a new canvas to the resolution, dimensions, and colour mode specifications given in the brief, you can save yourself a lot of math and heart ache.

Remember, everything you import into a new canvas becomes the same Resolution and Color Mode — a single canvas simply cannot contain multiple resolutions or colour modes. [In fact, some colour modes disallow you from moving one image or selection into an image in another mode. Alter your mode through the Image Mode menu if you find yourself in this situation.]

Drag your scanned image to the new canvas. If it is bigger than you intended that's good. Smaller and you must scan again especially if it is a detailed photographic image.

Incidentally, it is worth future-proofing your project by scanning all your images at the highest resolution available ensuring the image will be suitable for most purpose to which we might put it.

Line Art - Examples, Scanning and Correcting
Today you were shown the steps to preparing and implementing [pseudo] line art in Photoshop -

Scanning Line Art- always scan line art in Greyscale [NOT Black and White!]
Once scanned save your file into your carefully planned Folder hierarchy for the Keyword Iconic project. Save as a PSD formatted file.

To convert the greyscale artwork into a line art appearance, use Threshold command [Adjustments > Threshold] and move the slider to achieve the required balance of light and dark pixels. Your art now has the look of a Bitmap image but is still in Greyscale mode [hence pseudo line art].

Save your treated file as a separate document to your original scan but be sure to describe what you have done in the files name [eg Line Art Corrected.psd]

Set up a canvas or open an existing canvas [Keyword:Iconic stage 1 requires A3 at 200ppi for print files or 1024x768pixels at 72ppi for screen display].

Drag and drop your line art to the newly opened canvas. Use the blending modes to merge the line art with other images on other layers. Use the Edit > Transform [Apple-T] to Scale Rotate and Skew the line art to your needs.

To be continued next time…

Session 7 [Mon 271008] - Final Music Choice/ Review of Initial Photomontage/ Aids to Generating Concepts

noreply@blogger.com (James Gosling) — Tue, 28 Oct 2008 09:26:00 +0000

Homework First

Develop 2 brainstorm maps [Henrique - see links to PDFs to the right] forging logical and lateral associations with your chosen music. Feel free to extend these maps to suit your purposes.
Make initial/ further sketches on layout pad, visualizing possible ideas and concepts to represent your music.
If you did not present a satisfactory A3 Photomontage for Session 7, please make sure you have one for next time.

Bring all this to next session without fail. I really want to see those four hours of homework in evidence.

Session 6 [Wed 221008] - More Music/ Keyword:Iconic Stage 1 Briefing/ Photoshop - Setting Up Canvas & Scanning

noreply@blogger.com (James Gosling) — Thu, 23 Oct 2008 09:39:00 +0000

Homework

Please use your Photoshop skills accrued so far, including the brief introduction to scanography to create an A3 [297mm x 420mm] photomontage.

Also, make your final choice about the music you wish to work with this term.

Below is a link to more information on scanography
Scanography Ideas courtesy Computer Arts April 2002

Session 5 [mon 201008] - Quiz Answers/ InDesign Fundamentals Continued/ Keyword:Iconic briefing/ Music from Nate And Angera

noreply@blogger.com (James Gosling) — Tue, 21 Oct 2008 12:51:00 +0000

Homework First

Find an object for scanography purposes
Think about music choice
Practice mac skills for remainder of Homework allocation - perhaps try creating some finished CD art

First Quiz
Answers available here - Quiz 1 Answers

InDesign Fundamentals
Continuing our run-through of the Adobe CS suite of print apps, we covered a whole raft of techniques this session -

Recap on setting up layers - the all important text layer on top rule
Importing Bitmap and Vector images
Apple Shift A to deselect
Keying 'W' to show preview mode without margins and guides
Using the Black Selection arrow to move the picture frame
Using the White Selection arrow to move the contents inside the frame
Changing Display Performance - Control click \> Display performance \> High Quality
Using Links Palette to edit in original app and update in InDesign
Moving items from layer to layer
Cutting contents and moving to Master Page - using Paste Remembers Layers
Design Variations - Using InDesign as a sketch book. Unlocking Master Page Items to edit a unique page
Saving InDesign Files to 'Job Bag'

Briefing - Keyword:iconic
Thorough read through of main K:I brief - clarifying what's expected this term.

Music from Nate and Angera
Thanks you two for kicking things off this session. Interesting choices with, hopefully, some useful feedback from the other class members.

Session 4 [Wed 151008] - Another class heavily interrupted/ Artworking in Illustrator and Photoshop/ Setting up in InDesign

noreply@blogger.com (James Gosling) — Sun, 19 Oct 2008 23:31:00 +0000

Homework First
Please, remember, official homework time is set at four hours per session. Use the time well.

Now the macs seem to be back on track, we can focus on the tasks ahead.

Four things for homework then -

Prepare for the first quiz
Gather all your reference on the four designers
Read and digest your briefs
Bring your music to play in class [no more than 4 pieces, preferably three]

If you are feeling a little rusty, after your experience artworking this session, then find some time to update your skills.

More Interruptions
You coped well with the fresh wave of interruption today. Thank you for your patience. You had a chance in the meantime to look at some examples of design for the music industry. You were also given the first part of the keyword:Iconic brief.

Artworking in Photoshop and Illustrator

Setting Up In Indesign

Session 2 & 3 [Wed081008 & Mon131008]

noreply@blogger.com (James Gosling) — Sun, 19 Oct 2008 23:08:00 +0000

Mac Labs Suck - It's Official
After Session 1, Session 2 had a better turn out. However, we lost a considerable amount of class time with fire drill and servers dropping off repeatedly.

For homework you were asked to study the work of four record sleeve designers - Reid Miles, Hipgnosis, Jamie Reid, and Peter Saville.

In Session 3 things didn't get any better. Nate kindly lent us his laptop and his presence at the controls to allow a demonstration of setting up in Photoshop and Illustrator.

Some useful knowledge imparted but morale is low due to technical faults cutting into class time.

At the end of Session 3 you were asked to choose 3-4 pieces of music for our listening pleasure next session. You were also given advanced warning of a forth-coming quiz.

We left Session 3 considerably behind schedule. Apologies to all of you for these hiccups.

Session 1 [Mon 061008] - Introduction/ Low Turn Out

noreply@blogger.com (James Gosling) — Sun, 19 Oct 2008 22:11:00 +0000

Introduction - False Start
Term gets off to a slow start. Thankyou though Hatice, for your attendance. We made the best of it and it proved a useful refresher session.