On 2/24/19 at 1:15pm, I presented at the North Carolina Community College Fine Arts Conference with the Session Using Real-Life Clients In The Classroom at the Meroney Theater in Salisbury, NC. This was co-presented by Carla Osborne of Wake Technical Community College
Using Real-Life Clients in the Classroom
At this event, we discussed the ability to work with clients in our classrooms, from beginning to end. This process included setting out the fear involved with
you for attending our presentation this afternoon. I’m attaching the videos that were in the presentation with a short description:
Baking and Pastry Arts Introductions
Since the student chefs are on another campus, this was our way of introducing them to the graphic design students:
Client/Media Relations – Summer Session 2017
We have fun in our department and for this video we roped in one of our Networking instructors as the client:
Client/Media Relations – Summer Session 2018
For this video we recruited a theatre student from NCSU to play the part of the client for Beet Box:
Design Apps III
In this short video Julie Evans introduces the rebranding assignment for Joe Van Gogh
And here’s the interview with the owner:
We hope you found a few tips you could implement in your own classes. Please reach out if you have questions or if you would like to share your experiences with working with clients in your classes.
At 3:00pm on 3/22/2018, I presented Who Put The “Copy” In Copyright?, and Co-Presented with Carla Osborne, at the 2018 North Carolina Computer Instruction Association Conference in At Asheville-Buncomb Technical Community College in Asheville, NC.
Who Put The “Copy” In Copyright?
In our presentation, we discussed the history of copyright as well as current methods, issues, and solutions for teachers. Along the way we answered a fair amount of hefty questions, and afterward we had a nice question and answer session with recipients.
A Quick History of Copyright
- Gutenburg Press and Angry Monks
- 1710 Copyright Act: The Statute of Anne
- 1790 First Copyright Law: Article 1 of the US Constitution
- 1976 The Copyright Act: What we know today
- DMCA: Digital Millennium Copyright Act
There are three types of formalities when it comes to Federal Copyright law: notice, deposit, and registration. Deposit and registration are the things that give copyright owners the ability to enforce a copyright in court. Notice is important because people erroneously think the absence of a copyright mark is the absence of ownership, therefore copyright protections would not apply.
If a work was published before 1978 (when the 1976 Copyright Act took effect) the work was subject to common law and federal copyright protection. This meant that if the work was required to have a copyright notice affixed if they were published. Unpublished work was protected by common law and if the work was published without “proper” copyright protection, that meant the work entered public domain. In short, there were a lot of formalities that could be misunderstood or misused.
Why Is Copyright Important?
Why do we have to learn about this stuff?
Foster Ideas While Protecting Your Rights
- Knowing about copyright helps you know your rights,
- What material is available to you,
- How to credit writers, photographers and other artists,
- How to be ethically responsible,
- How not to infringe on existing copyright. Not knowing copyright laws and restrictions doesn’t absolve you from breaking the law.
How Copyright Might Affect You
Things that determine whether or not you can copyright a work
2.Fixation (Not in a perverted sense — Is the work tangible?)
3.Human Authorship (Really, it has to be created by a human. No joke)
4.Copyrightable Subject Matter (Copyrightable material has to fall into one of several categories)
5.The Originality Requirement (Originality is “the bedrock principle of copyright”)
6.Independent Creation (No copy cats!)
7.Creativity (Which should go without saying)
What Is Taken Into Account
- They do not consider the potential for income, whether the work is a novelty, aesthetic or artistic values, symbolism, or the look and feel of a work.
- “Authorship” is the term used to describe material considered for copyright, even if the work isn’t written. Authorship is established by considering if a work is original and if it’s tangible.
- It’s easy to determine if something is fixed or tangible. It’s harder to determine if something is original.
- If you have a cool idea, but you don’t create something tangible, you can’t copyright that idea.
- Conversely If you do create something tangible that conveys your idea and someone says, “Hey! I had that idea!” they’re cannot claim copyright.
- Fixation determines if and when copyright is established. Is it possible for two or more very similar ideas to be created by different designers? Of course, but first it must be established whether or not these ideas are truly original.
- If they are, then the moment they were created is when they become copyright protected
12 Things You Cannot Copyright
1.Works that have not been fixed: a work communicated solely through conversation that has not been filmed, recorded, written, or transcribed.
2.Works that lack human authorship (We weren’t kidding about this.): paintings done by cute kittens for an SPCA fundraiser. Another example is reducing or enlarging the size of an existing piece of art using a machine or mechanical means (because the robots aren’t human and haven’t taken over. Yet.)
3.Ideas, procedures, processes, systems, methods of operation, concepts, principles, or discoveries: This is a biggie. Just because you have a great idea doesn’t mean that idea is protected while it’s still rolling around in your noggin. Make it tangible if you want it copyright protected as intellectual property.
4.Facts: Since they aren’t generated by human authorship. The jury is still out on facts by animals. However, if you (not your dog) write a book using facts or about facts, that work is copyrightable.
5.Wait for it…. Typeface and Mere Variations of Typographic Ornamentation: Yes, the use of “mere” is slightly insulting, since designers appreciate well-designed type, but copyright doesn’t cover typefaces or calligraphy. But, if you create a pictorial work or graphic work using calligraphy that is sufficiently original, it may be eligible for copyright protection.
a)Format and Layout: Verbatim, from the Compendium of the U.S. Copyright Office Practices, Third Edition 3 (E):
- As a general rule, the U.S. Copyright Office does not accept vague claims of “format” and/or “layout.” The general layout or format of a book, a page, a slide presentation, a website, a webpage, a poster, a form, or the like, is not copyrightable because it is a template of expression. These terms should be avoided and, if used, will be questioned by the registration specialist.
But, wait. Sometimes there are exceptions:
b)Copyright protection may be available for the selection, coordination, and/or arrangement of specific content, such as a compilation of artwork or a compilation of text, provided that the content is arranged in a sufficiently creative manner. However, the claim would be limited to the selection, coordination, and/or arrangement of that specific content, and it would not apply to the format and layout itself.
6.Mere Copies: There’s that word again. But in this case it applies. If it’s a copy, it’s not original, which defeats the point of copyright protection. Examples include photocopies and scans of photographs or exact copies of artwork.
7.De Minimis Authorship: This just seemed like a fun term, so we threw it in there. The term roughly translates to “the law does not take notice of very small or trifling matters.” The short version is, “This is not original enough to be worth the trouble.” Examples include touching up an old photograph in Photoshop without adding noticeable artistic touches, or using a public domain photograph to make one of those inspirational posters that were big in Stephen Covey’s heyday. Ironically a parody of such a poster would be protected under copyright.
8.Words and short phrases: You can’t copyright a name of a person or business, slogan, title, domain name, or the name of a product of service, not matter how cool or outlandish it is.
9.Familiar Symbols and Designs: Among other things, “Well-known and commonly used symbols that contain a de minimis amount of expression or that are in the public domain, such as the peace symbol, gender symbols (♀ ♂), the symbols for “play, pause, stop, forward, back,” simple emoticons such as the typical smiley face (☺), or the like. This is something to keep in mind when you’re creating social media campaigns.
10.Mere Variations of Coloring: There’s that word again! Making something a different color isn’t going to make it original enough to qualify for copyright protection.
11.Government Works: There are some exceptions, but if a work is created for the U.S. Government, it cannot be copyrighted. However, this doesn’t mean that if you use a government work you shouldn’t cite the source. Copyright and credit are two different things.
12.Works in the Public Domain: Works can be in the Public Domain for a variety of reasons (lack of registration, expired registration) but they may not be copyrighted. However, a derivative work containing public domain material may be registered if it contains a sufficient amount of original authorship. What qualifies as “derivative work”? We’re glad you asked. That will be covered shortly.
Your Intellectual Property
Your work is considered, by law, copyright protected from the instant it is fixed, or tangible, if it’s eligible for copyright. While that sounds easy enough, proving that in court is an entirely different matter. There are some things you can do to protect yourself and your work:
1.Always include copyright information on your work, including sketches, with the following:
Copyright/Copr./© + first date of publication + name of the copyright owner
For example, © 2017 Your Name
2.Keep good records, both in digital and paper form.
3.Register your copyright with the Copyright Office either online or by filing a paper application. This is the method that puts the burden of proof on the infringer, should a copyright be legally contested.
Your work is considered, by law, copyright protected from the instant it is fixed, or tangible, if it’s eligible for copyright. While that sounds easy enough, proving that in court is an entirely different matter. There are some things you can do to protect yourself and your work:
Develop workflow habits, such as using the metadata options in Adobe Photoshop and Bridge, to add copyright information. Integrate copyright into project management.
OPP — Other People’s (Intellectual) Property
If you do not see a copyright listed with a photo or illustration, that doesn’t mean it is free to use.
It’s your responsibility to make sure you are not using copyrighted works without the permission of the copyright holder.
Fair Use And How To Play Nice
The concept of Fair Use is not to circumvent copyright requirements, but to allow use of copyrighted works for educational and informational purposes. Be warned that Fair Use isn’t carte blanc. You have to consider four components when deciding whether an image or graphic falls under the copyright exception of Fair Use:
1.the Purpose and Character of the use; including whether such use is of a commercial nature of is for nonprofit educational purposes;
2.the Nature of the copyrighted work;
3.the Amount and Substantiality of the portion used in relation to the copyrighted work as a whole; and
4.the Effect of the use upon the potential market for or value of the copyrighted work.
The questions are posed in sequential order. All four factors must be weighed in your decision of whether or not to consider use of copyrighted material.
Leibovitz v. Paramount Pictures Corp.
Vanity Fair cover using Leibovitz’s photograph of Moore is on the left. On the right, Nielsen’s head is superimposed over the body of a model hired by Paramount. Leibovitz sued because she felt it diminshed her work and her hirability because people might think she supported the movie and worked on its active marketing. Judges ruled that no one would seriously think that this was male actor Leslie Nielsen, and the case was thrown out.
The Barack Obama “Hope” poster is an image of Barack Obama designed by artist Shepard Fairey. On February 29, 2012, Fairey pleaded guilty in a New York federal court to destroying and fabricating documents during his legal battle with the Associated Press.
Sources You Can Use
If you post it, they will come (and download it).
How can you find images that don’t infringe on copyright?
- A good place to start is Creative Commons, which was created in the spirit of creative collaboration.
- You may also go straight to the source and ask the copyright holder for permission to use, which may include a request for payment to do so.
- Public domain sources offer a surprising number of high quality images and graphics.
If you choose to purchase images through a stock website, read the fine print. Royalty free doesn’t mean no strings attached, more likely you’re purchasing a limited license to use that image. Some stock photography sites limit the use to certain mediums, while others will not allow more than a specified number of copies to be made.
A Word About Type
AIGA Professional Practices in Design gives the following advice:
- Make sure you have the license to use fonts.
- If you want to use a font that isn’t installed on your computer, you must ensure that you have a license to install the font, or else acquire a license to do so.
- Contact the type foundry or supplier of the font if you have questions.
- Don’t lend or give a font to others to use.
Giving Credit Where Credit Is Due
Unless it is expressly stated that no attribution is needed, you should always credit the creator of any work you use. The credit should be given in such a way that it’s reasonably easy to read. If you’re not sure about how the credit should read, double check with the copyright holder.
Creative Commons has a tiered licensing system and detailed instructions on how to credit work.
Licenses From Least Restricitve to Most Restrictive
This license lets others distribute, remix, tweak, and build upon your work, even commercially, as long as they credit you for the original creation.
This license lets others remix, tweak, and build upon your work even for commercial purposes, as long as they credit you and license their new creations under the identical terms.
This license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to you.
This license lets others remix, tweak, and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they don’t have to license their derivative works on the same terms.
This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit you and license their new creations under the identical terms.
This license is the most restrictive of the six main licenses, only allowing others to download your works and share them with others as long as they credit you, but they can’t change them in any way or use them commercially.
Infringement Happens. What’s A Teacher To Do?
Often infringement is born out of ignorance, not malice. That doesn’t excuse misuse, unauthorized use, or misappropriation. Regardless of intent, infringement constitutes plagiarism
Infringement Happens. What’s A Student To Do?
If you are suffering from copyright infringement, what’s the best course of action? There’s no quick and easy answer to that question.
It’s dependent on how well you’ve documented your work and whether or not you have registered, or are in the process of registering, your work with the Copyright Office. But make no mistake, if your work is in tangible form, your work is considered copyrighted.
Ask Permission, Not Forgiveness
It’s pretty much that simple.
If you seek permission and adhere to copyright guidelines, you’ll be in compliance. It’s much better to ask permission than forgiveness.
Sources To Explore
Copyright Law in a Nutshell, Mary LaFrance
Copyright.gov: Compendium: Chapter 300.
2016 USCA National Distance Learning Week Virtual Conference, Tucker Taylor, Head of Circulation at Thomas Cooper Library, University of South Carolina, Aiken.
The Graphic Artists Guild Handbook: Pricing and Ethical Guidelines, 14th edition
The Copyright Book: A Practical Guide, Sixth Edition, William Strong
AIGA Professional Practices in Graphic Design
The act is numbered as 8 Ann. c. 21 in The Statutes of the Realm (published 1810–25), based on the original Parliament Rolls; but as 8 Ann. c. 19 in Ruffhead‘s Statutes at Large (published 1763–65; and later editions), based on the copies of acts enrolled in Chancery. Both forms of citation are acceptable, and both are found in reputable secondary sources.
SafeAssign and other tools
What do you use to monitor copyright compliance? SafeAssign is a fine way of ensuring that materials are original- at least as much as can be. In some cases, a single student may copy their material from an internet source without quoting, and then we may find that numerous others would then copy off their paper, there are ways in which several students can cheat without all of them being caught.
Another University Issue
NC State was once found to be among the largest institutions with Video downloads from the internet. As a result of being outed, the school came up with a larger, more clear copyright statement on the footer on their web pages. While we’d all rather see this say “CAN I use copyrighted material” rather than “HOW CAN I use copyrighted material”, they’ve done a great job here.
On 11/9/17 at 11:00am, I presented at the Wake Technical Community College Fall Professional Development Conference at the Session Gamification In The Classroom in the Engineering Technology Building in Raleigh, NC. This was co-presented by Tyler Dockery and Nicolas D’Agata of Wake Technical Community College
Gamification In The Classroom
In this presentation, we will cover 4 basic topics:
This presentation is part of a grant we ran in 2014, discussing the reason behind what we did, the lessons we learned, and how you might be able to integrate these ideas in your classroom. This grant was proposed and monies set aside to train and develop gamified systems in low-performing courses in the WEB curriculum model. In this first part, we will discuss some of these results.
When Things Go Poorly
LATE NIGHT ACCESS TO THE INSTRUCTOR
Story Form Engagement
By taking the students through the materials one item at a time, student were exposed to a story in serialized form. Each decision allowed student to take quizzes and open things like a choose-your-own-adventure book. A strict list of deliverables were noting requirements each week, and each was made available one item at a time with encouraging messages and explanations. Great artwork moved them through the story with chunked information.
Chocolate Covered Broccoli
Students mentioned in exit interviews that the course was exciting for the first 8 weeks or less only. After 8 weeks, the gamification storyline began to become less exciting and more filler content which stopped them from getting to the real meat of the course. Students who missed assignments or failed to turn them in missed content, stating that they could not follow the story any more. Students who did not read the course material failed to understand that there were minimum quiz grades and found they were flunking early in the semester, and many chose to drop.
After the midterm, many students said that they were facing fatigue. Too many classes, too many projects, and they admitted that by week 9 they were simply skipping over the content to get to the work. One student mentioned very specifically: “I didn’t read the story after the midterm. I just wanted to get my work done and find out what the next item on the list was and get my grade.”
Seems like building out all the dependencies and choose-your-own-adventure story lines were really some wasted time and effort. Scores did increase, but the story was not engaging. After
Second Time Is The Charm
In WEB141 Mobile Interface Design, students found that they were highly disengaged with the class, noting that book materials were very paint-by-number, and had little to do with real life problems. Students found it difficult to tell where they in the class, with scores for midterms, finals, and assignments clearly defined, but still hard to calculate where students should put their efforts. Student who fell behind in online courses felt that they could not gain any headway, and messing up on a project or two when coupled with the midterm left them flat with no way to raise their grade.
To combat the issue, Nic D’Agata looked at the data and changed his tactics to better meet student needs.
GAMIFICATION AT THEIR WILL
Since students in the first class found that the gamification content was a distraction, Nic built his material as an overlay. Content for the course changed little, with the gamification built over the top. Students had the option to ignore the gamification elements without detriment to the course content.
QUICK GAUGE OF PROGRESS
Many students found they could not tell which items were best for their grades, and the best uses of their time. Nic installed a system of “Money” earned through the course of the semester. Each week offered one or more project. Each project was a contract with a client, offering money for project which met the minimum requirements, and greater funds for projects which excel. Students were given the goal to reach $1 million by the end of the semester.
Nic also included a leaderboard where students could see their progress compared to other students. No names were given, so no privileged information is released, but it could encourage students to work harder if they’re in the wrong spot.
INCREASE RANK AT THE STUDENTS’ CHOICE
Students often found that getting behind was like getting in a hole too deep to get out of. At strategic points in the semester, students were treated to “Freelance” options, where they could troubleshoot existing code and earn money to increase their monetary income. This was essentially enrichment activities where students could increase their understanding or take on additional work to increase their grades.
RECOGNITION FOR A JOB WELL DONE
Using blackboard achievements and badges, students would be automatically notified of “industry recognition”. Students could see the badges and gain an instant warm fuzzy for having some minor graphics provided to them.
On the right track
Overall, students reported that they felt more engaged in a course with open-ended projects and gamified elements.
Best of both worlds
Students enjoyed some open-ended projects and did not miss the “paint-by-numbers” approach. Some people really liked the 8-bit gaming platform of the course, and most people enjoyed the scoreboard/leaderboard process. This, along with the monetary system, was super-effective at motivating students
Nothing is ever perfect
The assistant is a moving digital display which lays out the information needed in each lesson. In some lessons this outlines projects, in others, it outlines specifics about the learning methods. While only a small number found it detrimental, it was almost a 50/50 split on Liking/Not Caring for the assistant.
The leaderboard answered questions that many students had about their grades, their places in the class, and provided some good motivation. The material was helpful to most students, with many students noting it as a prime motivator. Some students (about 1-2 per semester) found the leaderboard to be a source of anxiety causing them to worry about their location in the class.
The Leaderboard was a simple tool plugin, and could quite easily be coded into your classes.
Hands-On Leaderboard Addition Demonstration
At this point in the presentation, Nicolas answered questions about adding in the leaderboard. Using HTML code directly in his blackboard course, Nic added the leaderboard in to an older course as a demonstration. It was complicated, but well-received.
SHOW AND TELL IS OVER
At this point, we’ve talked about our personal experiences, so lets begin some insight into how you can add this to your classes.
Blackboard Badging and Certificates
The blackboard badging and certificate systems are available to all current blackboard shells. They can both be accessed through the TOOLS menu options on the lefthand side. You can work with existing items, create your own, make your own certifications, etc. They are easily created, and can easily integrate with your course shells at any time.
At this time, we created a shown, in-person demonstration on the overhead.
The services we showed at the end of the material allowed us to include Quizlet materials for easy self-study materials, online games like Play Brighter or Virtonomics, advanced tools like Duolingo, or creating your own badges and materials with OpenBadges. The material was well received, and we did a few extra demonstrations on how to include teaching materials from duplingo, integrating quizlet, and Q&A was fairly sedate.
At 10:00am On 11/8/16 I attended Winning, One Program at a Time: A Systemic Approach presented by Kay Zimmerman & Adam Schultz at the 2016 USCA NDLW Virtual Conference.
Winning, One Program at a Time: A Systemic Approach
When formulating the best way to invest marketing dollars into DE student recruitment initiatives you can ‘wing it,’ or you can look to the numbers to build a value-driven system. By utilizing a unique sequence of university and program-based marketing support, you can meet your online and DE student enrollment goals on a budget! This presentation should show us a simple but highly effective online and DE program level marketing system, showcase real life case studies and lead attendees through a collaborative Q&A session to guide them through the thought process for how to apply these concepts to their own programs.
This session was basically a show-and-tell coupled with a large advertisement :(. It started with this:
DURHAM, NC (PRWEB) SEPTEMBER 08, 2016
Verified Studios today announced that it will share the results of its multi-year partnership with NC State University’s Distance Education Learning Technologies Applications (DELTA) office during the November USC Aiken National Distance Learning Week (NDLW) Virtual Conference.
Over the last two years, the Durham-based digital marketing agency has guided deployment of a scalable, low-cost, high ROI program-level marketing system across 18 NC State online and distance education programs. At the Distance Learning Administration (DLA) Conference in June 2016, CEO of Verified Studios Adam Schultz joined Kay Zimmerman, Associate Vice Provost DELTA-Marketing & Partnership Development Marketing and Partnership Development, to share the results of this partnership and the resulting paper, “Winning One Program at a Time: A Systemic Approach,” won the Conference’s Best Paper Award.
“The results of the partnership between NC State and Verified Studios are a perfect fit for this year’s conference as our theme is Practical Applications towards Building Quality Online Courses,” said Dr. Veronica Outlaw, coordinator of the 2016 USC Aiken NDLW Virtual Conference and Director of Distance Learning at the University of South Carolina Aiken. “The only way to continue to offer quality courses is to have the enrollment numbers that prove return on investment in distance learning.”
“At Verified, we’re focused on not only helping our individual partners leverage digital marketing to meet their strategic goals but also on establishing best practices that can guide the higher education industry as a whole,” adds Adam Schultz. “We appreciate the opportunity to share the results of our program-level strategic marketing project with an extended audience.”
Verified Studios has worked with many institutions of higher education, including Duke University and Appalachian State University, among others. Learn more about how the Durham-based agency helps its partners leverage digital marketing to meet their strategic goals at http://verifiedstudios.com.
This showed some information for the services provided by verified studios, but Came to a divisive point when Kay asked “Would this work for you and help you meet your enrollment projections?” There was a pause, which caused one teacher to ask in return: Could you use any of these in your courses?
Short thereafter, Kay asked “Do you presently meet the online and DE program/courses enrollment projections?” another large pause occured, and the woman from earlier said what was on many of our minds “@Kay, How would we know the answer to your question?”.
In all honesty, I wouldn’t know the answer, and I have been teaching here for over a decade. What are our projections? Do we have projections? Do we have a department which handles this? Do we have a strategic marketing and student recruitment plan? I’m not exactly sure. I certainly hope that if we do, we are beating those expectations.
While this was mainly a case of how verified studios was able to help NCSU, I think it did open up some good fodder for discussions here.
At 11:00am On 11/7/16 I attended Online Discussions: Moving from Compliance to Engagement presented by Dr. BethRene Roepnack at the 2016 USCA NDLW Virtual Conference.
Online Discussions: Moving from Compliance to Engagement
Dr. Bethrene began her topic by discussing how many of us used online discussions and pointing out some issues. She went on to outline how online discussions could be ideal places for engaging with students and content, but the ‘post and respond to two’ format often interferes with how real conversations take place. She further went on to talk at length about how the discussions become time consuming requirements. Many students quickly move through these and
We will review how changing the structure of online discussions and opening up the questions, can move students (and faculty) from mere compliance with online discussion requirements to development of meaningful conversations that promote cognitive and social engagement. We conclude with time saving tips and how we can create a space to ‘let learn’, while maintaining a presence in online discussions.
The notes for this were extremely dense, so I’ve included the Massive slide deck here:
Online Discussions – Moving from Compliance to Engagement – PDF Document
On March 9th 2016, I Presented to the NCCIA at 10:30am with Carla Osborne, MA and Julie Evans, Instructors of Advertising & Graphic Design at Wake Technical Community College, in RM235 in the 600 building at Rowan Cabarrus Community College in Salisbury, NC.
StepUpToADegree-GRD TeachingGraphicDesignOnline-PDF (1)
This session was set to be a slight scary one, but the attendees were nice, ready to ask and answer questions, and open to taking notes. Tee experience was very, very positive one. I believe we’ll be doing this again, and I find that these situations seem stressful on the outside, but once you begin… its just as easy as it could be.
This conference opened the door for me.I look forward to presenting more in the future.