#but I do think the documentation is thorough enough that the basic components are totally doable without much coding knowledge

[skylilywolf]

Visual novels my beloved <3

If you are looking to try out working on a vn I find Inklewriter to be a great tool for writing since I can easily go through all the choice options I made and see them all in one place.

I've not fiddled with Twine so I'm not sure how easy it is to learn, but Renpy does have a lot of tutorials scattered over the internet and the basics (choices, dialogue, transitions, characters & backgrounds) are nice and simple. It's quite customizable for when you start to get more comfortable and want to expand to more complex mechanics too.

I'd just recommend starting off simple and working your way up to your dream project :3 Once you get the basic structure of what you want it's easier to conceptualize more complicated features and start to implement them.

absolutely devastating that i actually have the art skills now to produce the dating sim/visual novel my teenage self dreamed of and the only thing standing in my way is being a very mid storyteller and even worse at coding

[armorroofing]

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The post Wow! Armor Roofing - Louisburg KS Roofers appeared first on Armor Roofing Kansas City.

[sarah-h-mcdermott-syllabi]

INTRO TO BOOK ARTS: COURSE SYLLABUS

The University of North Florida Department of Art and Design Art 3930 CRN: 12660 Location: Building 45, Room 1603 Spring 2017 Tues/Thurs, 6:00pm-8:45pm

Instructor: Sarah McDermott Office Hours: Mondays 3-5:30, Fridays 2:00-4:30pm Office: Building 45, 2707 Email: s.mcdermott@unf.edu

Course Description: In this course you will be introduced to the materials, concepts and processes of making artist's books by hand. While you will be learning a great many new techniques and approaches, you will also be integrating printmaking techniques that you already have experience with (namely: screenprint, litho, transfers, relief), combining structure and content.

For the first part of the course you will be working primarily on book structures, with the main emphasis on craft, while we simultaneously read about and look at artist's books. In the second part of the class you will be working to integrate printmaking with book structure to make original artist's books, primarily in one mid semester project and one final project. The focus for content in this course will be on image making, however we will also touch on integrating text.

We will start by reaching into the history of the book and of the artist's book, and will discuss throughout the course some of the emerging theory related to this relatively new art form. Two visiting artists and a field trip to the University of Florida Special Collections will widen our knowledge of artist's books and provide inspiration.

Course Requirements:

You are expected to fully participate in the life of this class as a group endeavor. That means: regular attendance, completion of projects and assignments on time, participation in class discussions and critiques, full attention to demos and a sense of studio etiquette.

Showing up and trying hard are a big part of this class. Your grade will be determined by: 1) Participation 2) Assignments

You will receive a participation grade for every class, out of 5 points, which includes: Preparation for class, focus during class, and promptness. Being late to class will drop your participation grade for the day by 2 points. Use of cell phones during class, anytime other than individual work time, will cause your participation grade to drop.

You are expected to work at least 6 hours a week outside of class time. You will be required to make more than one copy of each structure- repetition is an important part of building skill.

Please be prepared to avail yourself of open studio hours. Working on your book arts structures and projects outside of class time is essential to success in this course! Open studio hours this semester are: Monday         3pm-midnight Tuesday        9pm-midnight Wednesday   3pm-midnight Thursday       9pm-midnight Friday 2pm-6pm Saturday check Print Guild Facebook page Sunday check Print Guild Facebook page

Leading up to midterm and final projects we will have pre-scheduled one-on-one meetings during class to discuss your ideas and progress in the course.

Attendance Policy: Due to the complex, technical nature of book arts and printmaking, attendance is essential for this class and will affect your grade. Your overall grade will drop one letter for every three classes you miss. I do not distinguish between excused and unexcused absences, except in rare, documented emergency situations. Being absent also means a zero participation grade for the day. You are expected to stay for the duration of class, including work days, as working in proximity to your peers, seeing what they are working on, and being able to bounce ideas off of others are all useful things. Arriving more than 30 minutes late or leaving more than 30 minutes early will result in you being counted as absent for the day. Please note that I do not redo demos. If you miss a demo it is your responsibility to ask your fellow students for assistance in catching you up.  

Assignments: The class assignments will be divided between book structures (building your craft skills primarily) two long term projects (your art work in the class), and a few other assignments (see below):

Point values:

Book structures: Pamphlet variations: 50 points Long-stitch: 50 points Accordions: 50 points Ethiopian coptic: 50 points and/or Case binding: 50 points Project 1: 70 points Project 2: 70 points Reading assignments: 50 points UF Book analysis: 30 points

Total assignment points: 470 Studio Etiquette: 20 points Participation: 145 (5 points per class) Total: 635

At the end of the semester I will add up all your points and divide by the total possible. This will give a percentage that will then be converted into a letter grade (factoring in any absences).

Grading criteria: Book structures will be graded for structural soundness as well as design sensibility (choice of materials, use of materials, etc) Your two individual artist's books projects will be graded based on technical (craftsmanship), formal (composition, design, impact) and conceptual (the ideas behind your work and how you communicate them) components. You may also get extra points based on adventurousness, boundary pushing, dramatic improvement from your previous work, overall aesthetic excellence.  

Late work will be marked down 5 points per class period (about one letter grade down).

Cell phone policy: Cellphones may be used in the classroom in a courteous and non-disruptive manner. During class work time you may use your cell phone and the internet to assist with your work. During announcements, demos, critiques and discussions – you may not use your cell phone. If you use your cell phone during these times you will get a zero participation grade for the day. Continued disrespectful cell phone use may result in me asking you to leave class and you will be marked absent for the day.  

Extra credit: I have a list of recommended articles about artist's books, beyond the ones you will be reading in class. You can borrow a book from me, xerox the article and write a response (TBD) for a possible 15 points if you would like to bring your grade up.

Shop Safety and Cleanliness: You will be working in a shared studio. It is important that you respect the equipment and others working in the studio. Always allow enough time for thorough clean up. This includes: no tiny scraps of paper anywhere, no ink anywhere, all tools put away, all trash/recycling disposed of, and your work safely in your drawer. Failure to clean up after yourself can result in a loss of shop privileges and will affect the "Studio Etiquette" portion of your grade. If you ever have a question about proper usage of studio equipment, do not hesitate to ask me, a monitor or other instructor before using.

A Note on Collaboration: Printmaking and the book arts are inherently collaborative media. Having your peers assist you as you pull a print through the press, getting their opinions on aesthetic choices (mixing colors, etc.) and/or getting technical advice is all acceptable collaboration. Unless you have proposed a collaborative project and received approval from the instructor, all projects in this class are individual student projects. This means each individual student does their own binding, pulls their own prints, draws their own sketches, makes their own matrices, etc.

Supplies: The UNF printmaking program provides paper for use in book structure assignments, as well as consumables used in binding (glue, paste, thread, etc).

You will need to plan on buying materials for your individual projects in consultation with me.

You will need to buy the following tools/supplies right away, before the second week of class: (all should be available at both Ponta Vedra Arts and Crafts and Reddi-Arts). Reddi- Arts also has a kit if you would like to buy everything at once: http://www.reddiarts.com/art-kits/mcdermott-book-arts

Bone folder Olfa knife (with snap-off blades) Small cutting mat (recommended) Awl Needles Glue brush Newsprint pad 50 sheets 18 x 24 (for common stock) A good metal ruler if you don't have one already (flat to the table, not cork backed) Folder or 3 ring binder to keep your handouts. Glue brush

You will also need to plan on buying Canson Mi-Teintes paper, binder's board and book cloth (we will discuss this further in class) by around the second month of class.

Readings:

Some or all of the following short readings will be required in the course (I will get the readings to you either xeroxed or on Canvas):

Johanna Drucker: The Artist's Book as Idea and Form Clive Phillpot: Some Contemporary Artists and Their Books Drucker: Artist's Books and the Early 20th Century Avant-garde Mary Tasillo: Context is King: The Democratic Multiple in a Digital Age Keith Smith: Picture Relationships and Movement Ellen Lupton handouts / Simon Morley

Further recommended reading: Joan Lyons ed.- Artist's Books: A Visual Anthology and Sourcebook Keith Smith- Structure of the Visual Book Betty Bright- No Longer Innocent: Book Art in America 1960-1980 Lark Books- 500 Handmade Books, vols 1 and 2 Johanna Drucker- The Century of Artist's Books Ellen Lupton- Thinking With Type

Journals: JAB (Journal of Artist's Books) The Blue Notebook The Bonefolder (archives) The Guild of Bookworkers Journal

Schedule:

WEEK ONE: 1/10: Go over syllabus, A brief history of the book and artist's books. 1/12: Visiting Artist: Allison Milham- Great Basin Press assignment: read Johanna Drucker: The Artist's Book as Idea and Form, buy supplies

WEEK TWO: Paste paper and pamphlet variations 1/17: Paste paper and demo. The basics. 1/19: Demo and work time

WEEK THREE: Long stitch 1/24: Pamphlets due. Long stitch demo. 1/26: Demo and work time. Assignment: read Clive Phillpot: Some Contemporary Artists and Their Books

WEEK FOUR: 1/31: Discuss reading, workday. 2/2:  Long stitch due. Demo accordions- folding.

WEEK FIVE: Accordions 2/7: Trip to University of Florida Special Collections, Ellen Knudson (Crooked Letter Press), 6-10pm.       Assignment: book analysis. 2/9: Demo- Covering boards, Non-adhesive covers. Assignment: read Mary Tasillo: Context is King.

WEEK SIX: 2/14: Work day. Discuss book analysis. 2/15: Mike Taylor visiting artist in screenprint, relevant to this class, zine and book maker in addition to printmaker. 2/16: Accordions due. Intro Project 1: Intermediate Object: Cards, Folded forms, Chapbooks, Zines Assignment: Reading: Keith Smith  

WEEK SEVEN: 2/21: Look at books, talk about sequence. Project planning. 2/23: Workday, mockups, individual meetings

WEEK EIGHT: 2/28: Work day, production 3/2: Work day, production

WEEK NINE: 3/7: Project 1 due 3/9: Demo: Coptic/Case

WEEK TEN: Coptic or Case binding (depending on interest) 3/14: Demo cont'd 3/16: Work day coptic/case, Intro Project 2 Assignment: Reading: Ellen Lupton

Spring Break

WEEK ELEVEN: 3/28: Work day coptic/case, workday Project 2 visions 3/30: Workday, coptic/case and project mock-ups

WEEK TWELVE: 4/4: Coptic/case due, workday 4/6: Workday- troubleshooting, production

WEEK THIRTEEN: 4/11: Workday- production 4/13: Workday- production

WEEK FOURTEEN: 4/18: Workday- production 4/20: Workday- production

WEEK FIFTEEN 4/25 Final Critique 6-7:50pm

Student Handbook: The online Student Handbook provides all enrolled students with information regarding students' rights and responsibilities as members of the University community.

It is the student's responsibility to become familiar with and adhere to all academic and University policies, procedures, and deadlines that are included in the Student Handbook and other sources including, but not limited to, the University catalog.

UNF Academic Policies: Americans with Disabilities Act: https://www.unf.edu/president/policies_regulations/04-HumanResources/4_0070R.aspx

Academic Misconduct Policy: https://www.unf.edu/president/policies_regulations/02-AcademicAffairs/EnrollmentServices/2_0640P.aspx

Non-Discrimination, Equal Opportunity and Diversity Regulation https://www.unf.edu/president/policies_regulations/01-General/I_0040R.aspx

VISITING ARTISTS at UNF this semester:

Alisson Leialoha Milham Thursday January 12 from 6:00 -80pm 45/1603 Print Studio Book Arts presentation on processes and techniques

Mike Taylor Artist Talk: Screen Printing Wednesday, February 15 45/1603 Print Studio 12:00 – 2:50pm Screen techniques and Processes 3:00- 4:00pm Potluck Sweets and Snacks! 4:00 – 6:00 pm Lecture Prints, Zines and Books

Don Martin March 14, 2017 – 45/1603 Print Studio Demo: Relief – 12:15-2:55pm Demo Mokulitho– 3:05-4:50pm

Lorrie Fredette MOCA Gallery Talk Thursday April 6 -10am-5pm

Exhibitions at UNF and MOCA: Testimony: Louise Freshman Brown, Thursday, January 12th, 5-8pm, Lufrano Intercultural Gallery, UNF Student Union, 58E, Suite 2401 (http://www.unf.edu/icp/lufrano/Upcoming_Exhibition.aspx)

Precision, Thursday, January 19, 5-7 pm, UNF Gallery of Art (on campus, 2/1032); this feature paintings and drawing by four UNF graduates: Claudia Dresser, Suzanne McGee, Susan Ober and Anna Reynolds (http://www.unf.edu/gallery/)

Frank Rampolla: The DNA of the Mark, Thursday, February 2, UNF Gallery at MOCA, 6-8pm (http://mocajacksonville.unf.edu/Exhibitions/UNF-Gallery/Frank-Rampolla-The-DNA-of-the-Mark/). Please not that Don Martin's beautiful exhibition, Leaves: Recent Prints and Sculpture, is up through January 22nd at MOCA (http://mocajacksonville.unf.edu/Exhibitions/UNF-Gallery/Leaves-Recent-Prints-and-Sculpture-by-Donald-Martin/).