Digital media courses are usually found in art or communications departments where the instructional emphasis is weighted toward artistic and creative aspects of project development. In digital media courses offered in departments oriented to the technical professions, such as computer science and engineering technology, the instructional emphasis is usually on technical skills. Regardless of where these courses are housed, graduates working in animation, 3D visualization, and interactive media fields are finding that an ability to apply both technical and creative skills is necessary. This presents challenges in classrooms where students range from the "very artistic/somewhat technical" to the "very technical/somewhat artistic", not least of which is how to assess projects in which both technical and artistic skills must be demonstrated. There is often a negative perception of the critique process as being purely subjective. This "that's-just-the-teacher's-opinion" perception often becomes the stopping point in attempts to get students to recognize critique as part of an iterative development of a design solution. How we handle this assessment can be the difference between a student seeing critique as truly constructive criticism, or merely a matter of opinion. This researcher has developed a comprehensive method that addresses both objective and subjective criteria while giving students confidence in the validity of the critique. In this method, peer and instructor feedback is given informally as students develop their ideas, and formally at project completion with a traditional class critique. This is followed by completion of an on-line form incorporating Rikert scales and comment fields for specific criteria. Works being evaluated are also posted so students can view each piece as they complete the form. Results are compiled into a database, and a password protected report is automatically generated for each student showing the average ranking for each question and compiled comments. Anonymity is preserved, allowing students a comfortable way to provide honest feedback to classmates. Students can use this report to guide revisions to their work, and the instructor can use it to evaluate how the class, and each student, understands the principles being taught, and how their abilities to think critically are developing. By tracking averages of student evaluations over several years, it has been found that peer feedback and instructor feedback closely correlate, providing affirmation of the critique to the student, and support for the final grade.

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Computer-Based Non-Photorealistic Rendering is a rather elaborate term for a set of 3D rendering techniques that focus on nonrealistic, or stylized, output. Specifically for this paper, the style is a type of concept sketching, done with a computer rather than markers and pens and other traditional tools. This paper will give an overview and show examples of some of the nonphotorealistic rendering capabilities available with Maya. This curious set of tools and techniques gives you the ability to create the look and feel of pen, marker, and other traditional media concept drawings with the changeability, flexibility, and creative control offered by a 3D computer-based tool. The tools will also leverage your existing 3D capabilities of moveable cameras, lighting setups, animation, overnight renders, etc. to create multiple views and looks that can require significant amounts of rework for the traditional artist. The paper will compare computer-based versions of architectural drawings with professional artist renderings of the same project.

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The design of a new input device to help break the barriers mainly created by keyboard and mouse is discussed. The new design integrates digital pen and mouse technologies with a new industrial design to provide artist with natural pen and mouse based input interaction. The design enables the user to hold the input device in a more comfortable position and thus reduces repetitive strain injury, stress, discomfort, and fatigue. The design also enables the user to remain productive for longer periods without adding further physical injury.

The purpose, information architecture and some relevant design theory of IdeasAlive Design System are discussed. The methodology of the system and a detailed design guide to help teachers effectively use it in the classroom are outlined. The implementation strategies and techniques involved in translating the system into an interactive learning tool are also described. Case studies of the system is presented and the ability of the system to effectively teach and assist design in the classroom is assessed.

Includes bibliographical references (leaves 169-173). / This work investigates the meanings coloured people derive from media representations of' colouredness'. To position coloured identity in post apartheid South Africa, it pays close attention to the ways apartheid stereotypes play themselves out in particularly television media today. It looks at representations of working class coloured identities and asks for a shift in representations which undervalue that identity. Since this research focuses on both an analysis of television content and reception analysis amongst the women of the Cape Flats community of Hanover Park, a working class coloured community, it cannot be removed from questions about the existence of coloured identitity. It argues that despite the apartheid imposition of the label it exists in as much as there are those who identify with the label, and therefore give it meaning. This meaning is complicated by working class identities. In looking at the meanings these women derive, negotiate and construct from these narratives, it highlights the impact of gender roles and class not only on the act of reception but the creative processes of meaning generation. This work does not limit itself to a television analysis but also looks at print media in the tabloid, the Daily Voice, since it speaks to a specific working class, coloured market, and highlights its representation of coloured identities. Lastly, there has always existed a cultural link between coloured and African American identities. While recent scholars highlight the importance of this link based on identification with black Diasporas occurring within the coloured community, this work argues that this identification could have negative repercussions. It problematizes the representation of African American masculinities, but more importantly, draws similarities between the representations of coloured women in the soap opera narratives and oppressive caricatures of African American women. It shows that these caricatures have been commercialized through the hip hop genre, questioning the potential for similar images of coloured identity to be normalized and therefore problematizes coloured identification with this American product.

Popular notions of "net generations" and "digital natives" have already been subject to sustained academic critique. This dissertation builds on such critiques by documenting the local practices and distinctive mobile literacies of a group of young people in South Africa. These young people (ages 13-17, n=18) were asked how they were learning about and using ICTs. The sample lived in Makhaza, Khayelitsha, and were members of a non-profit youth development organisation, Ikamva Youth, participating in beginner coding classes. This study explored what they had already learned about ICTs from their networks of close interpersonal relationships (n=133) and asked them how they felt about their own ICT knowledge, as well as the ICT skills of those around them. Unlike their wealthier counterparts, such young people do not have ubiquitous Internet connectivity, ease of access to consumer electronics or many opportunities to learn about computers in particular. Yet, rather than being stuck on the wrong side of a 'digital divide' or waiting passively for government to fulfil broken promises about digital literacy in schools, they were actively pursuing knowledge about ICTs and mobiles in particular. They demonstrated distinctive 'mobile-centric' repertoires, fostered through learning about ICTs from their strong ties. This gave rise to a distinctive mobile youth culture, shaped by race, class, and gender dynamics. Gendered biases and preoccupations, peer networks and technicities were particularly important. While this allows many creative and strategic appropriations of mobile technology, it also means that largely homophilous informal learning networks in part set the bounds of their learning. When most of what you're learning comes from your friends, it really matters who those friends are. Unsurprisingly, gaps in their digital literacies were apparent. In particular, their ability to fully participate in modern digital publics is curtailed. It remains essential to provide formal opportunities for young people to learn about ICTs at school, but also informally via a larger network of interpersonal relationships and communities of practice such as Ikamva Youth. Mobile technology presents many opportunities and suggests new approaches to digital literacy. Nonetheless, it seems likely that, given difficulties in accessing high status ICTs and bridging capital in particular, access and knowledge gaps will continue to disadvantage such young people.

Includes bibliographical references (p. 78-79).