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Academic Poster

Transcript: POSTGRADUATE CONFERENCE RESEARCH PROJECT ACADEMIC RESEARCH POSTER - GOOD PRACTICE OBJECTIVES # OBJECTIVES How to plan your academic poster Good design practice for academic posters Getting Started SCRIPTING Before you consider any other design software, open Microsoft Word. Any word processor will do, but make sure that it has the ability to track your word count and checks your spelling. TARGET AUDIENCE Ask yourself, who is my ideal audience for this poster? Is it other experts in your field, or perhaps the broader public? What is their level of understanding of the subject? This is an important question because if you put a bit of effort into making your poster understandable to the broader public, you automatically increase your potential audience and impact. BULLET POINTS A poster should not look like a paper, therefore, bullet points are your friend. 200-word paragraphs on a poster would discourage even the most motivated, sober, and caffeinated conference attendant. Bullet points on the other hand are a lot less frightening. There is a trend among some academics to slap a solid 200-or-so word abstract right at the top of their posters. Your whole poster is a VISUAL abstract SECTIONS Use sections with headers. Because we are writing with the reader in mind, we want to make the logical flow of the sections as easy as possible for the viewer to follow. My advice is to have large LESS WORDS Less words. The harsh reality is that if your poster is wordy, people will ignore it. Less is definitely more. GRAPHS You need to leave most of them out. You need to carefully select only the very essentials. One or two graphs is better than three or four, and certainly better than eight or nine! STEP 2: CONCEPT Here is where the fun starts. Grab a piece of paper, or open up your design software, and make a first draft. THINK ABOUT A VISUAL CONCEPT PANELS How do we read, left to right or right to left? Top-down or bottom-up? It may seem obvious, but I always see posters that are visually confusing and don’t have a clear directional flow. Start with an enlarged and readable title right at the top, then create a simple layout of panels that make it easy for the viewer to navigate. Remember that we’re committed to keep the reader in mind, so use arrows and numbered headers to help them out. LEAVE SPACES AT THE EDGES Notice the grey space in the images? It’s important to leave some blank space around the edges for a couple of reasons. First, you don’t want to risk important information to be cut off when printing, and second, you don’t want your poster to feel cluttered. This blank space is also known as negative space, and we’re going to unpack this concept more in the next section. STEP 3: DESIGN STEP 3: DESIGN NEGATIVE SPACE Negative space. For some strange reason, many academics feel the need to cover every inch of their poster with text or images. This is the wrong idea! It’s bad because it makes it difficult for the viewer to find the relevant information and to rest their eye. Clear space, also known as negative space, is an super important design concept, one that you should use to your advantage. 40% of your poster should be clear. EYE-CATCHING VISUALS Imagine you’re walking around a poster session, and you’re far enough away from the posters that you can’t read titles or graphs. What will compel you to walk towards a particular poster? It’ll likely be a recognisable image that grabs your attention. Without a big and recognisable image, your poster will look like a fuzzy wall of text and it will likely go unnoticed. Therefore, it’s smart to include one big visual that’s related to your research and has the ability to hook people in from a distance. Be it a rocket, a lion, or an octopus — what matters is that it’s there. COLOUR COLOUR Use a limited number of colours, say three-to-five, and stick with them! Graphs included. My suggestion is that you have two or three shades of a primary colour of your choice, an accent colour that stands out, and a couple of text colours. In a colour scheme of this kind, you can use the accent colour to draw attention to where you want people to look. The important thing is that you use the accent colour in moderation. Let me show you what I mean. COLOUR BACKGROUND IMAGES? FONTS Fonts and font sizes work a bit like colours. That is, the fewer you use, the better. My suggestion is to use only one or two different fonts. Boldface should be used on titles and headlines, while all the rest should be normal. When picking what fonts to use, play it safe. Stick with the classic Arial, Myriad Pro, and other familiar fonts and you can’t go wrong. SOFTWARE Canva (Free online graphics tool) Microsoft PowerPoint Adobe InDesign? Introducing Canva GO TO WWW.CANVA.COM NEXT Next Week's Session Be able to navigate the Canva workspace Be able to use elements creatively to update and adapt poster templates Be able to use templates to create a professional poster outlining your innovative process

Academic poster

Transcript: Introduce your first point This is where your presentation starts. Provide context for your audience and make it easy for them to follow. Follow up with another point Make a bold statement Keep your words short and punchy so your audience stays focused. You can add imagery to keep their attention where you want it. Follow up with another point Add details here Give an overview of this subject here. You can use bullet points to keep it easy to read. Wrap up your presentation quickly Summarize each point you made Give quick call-backs so your audience remembers Make it clear this is the end Wrap it up Presentation Title Use this space for details that you haven’t talked about yet. Relate what you’re saying to the nearby image so your audience has a visual, too. You can put a subtitle here Follow up Dive deep into your first point or make a new one Limit your words so your audience stays focused Use visuals to help Subtitle Put your most important point or action item here. Put another key point or action item here Put another important point or action item here Make this anything Make a bold statement Introduce your next point Add a subtitle here Provide context for your audience and make it easy for them to follow. A final point, a quote, more context — adapt the template to fit your needs. Remember that your presentation is almost done, so keep it simple. Make a new point Keep it quick You have space for details later Use visuals to help

Academic Poster

Transcript: 3 keys to succeed your oral research presentation Monica Baur - GReMS (UCLouvain) Understand presentation requirements Prepare for success ! Share research is fun ! Organize your information Thank you for your attention How To Prepare an Oral Research Presentation Michigan State University - Undergraduate Research YouTube Channel https://www.youtube.com/watch?v=LzIJFD-ddoI

Academic Poster

Transcript: A dolls house context CONTEXT: ‘A Doll’s House’, written by the Norwegian author Henrik Ibsen, was first performed in 1879, having been written in the same year. The play was first performed in Denmark, more specifically in Copenhagen. Audiences were taken aback due to the then controversial portrayal of his flawed heroine, Nora. To this day, it remains one of the most striking dramatic depictions of the typical nineteenth century woman, who were expected to be the inferior half of the relationship. In 1964, the play was translated in English by Michael Meyer, as well as being performed in the same year. Shocked it's first audiences with its themes of self-liberation vs duty, where women were expected to be the inferior half of the relationship. Cemented his legacy as 'The father of twentieth-century European drama.' (Wells, 2002) Henrik Ibsen, writer of the play concept concept Our idea for our production of ‘A Doll’s House’ is that it will be set in the modern-day, as the play still relevant to modern society, with feminism being on the rise. The play will performed at National Theatre, as it is a major theatre. Looking into these past productions of A dolls house. we were heavily inspired to put a modern twist on it. especially looking at the short modern film based on Nora. After looking into it. We wanted to expand on that. venue venue National Theatre - Olivier Theatre As discussed previously, the venue of our choice is the National Theatre. The reason we chose this venue is because it is one of, if not the, biggest theatres in the UK. This is the seating plan for the audience in the Olivier Theatre. Olivier Theatre (Layout) casting casting As we are setting this version of A Dolls House in the 21st Century, we will cast well known actors. Torvald Helmer - Ralph Fiennes Nora - Sheridan Smith Doctor Rank - Joel Fry Mrs Linde - Sandra Oh Nils Krogstad - Richard Madden Helmers three young children- Anne (The nurse)- Nathalie Emmanuel a housemaid- Rose McGowan a porter- Connor Swindells costume costume As we want to make this somewhat, dated set piece, modernized, the costumes have to be accustomed to it. Taking Nora as a key example. In a previous adaptation, Nora could be seen wearing denim and a hoodie, which were designed by Jessica Ford. So we, could have Nora in jeans as it's something that "breaks the norm" and is seen as un-ladylike. Nora's clothing should stay fixed for the majority of the play Her final entrance look, however should be in street clothes so it really shows how firm her decision to leave is. Torvald, the husband could get away just wearing a suit because even to this day any high end job attire is normally a suit and tie with a crisp white shirt. Krogstad and Mrs Linde, have to put comfort before style in regards to costume to show how harsh their lifestyle is in comparison to their counterparts. Krogstad can have his bulky coat and furs to give him a menacing appearance, though they are perfectly suited to the weather. lighting lighting Victorian theatres often used simple gas lighting for the performances. Modern-day lighting will be used - fresnels and par cans. Lighting could change for different moments of the play, i.e. the confrontation between Torvald and Nora in Act 3. sound sound No sounds are really needed for this play. Manual sounds could be used - Door slamming for Act Three (When Nora walks out) Modern sounds are more technologically advanced then when it was first performed. We want this to feel naturalistic and true to the play, which is why, music will only be implemented when it's needed. Some slight SFX for when tensions are rising would be usefil; set/props set/props design The doll's house was a 19th set drama piece which used many theatricals techniques that involved theater. Here is a list of all the props used for a doll's house from Act 1 to 3: Act I: Cabinet with Chine and other small objects Book-case with well-bound books Christmas Tree Basket Noras Purse Noras packet of macaroons Varied amounts of money Noras Christmas gifts New suit for Ivar Sword, horse, and trumpet for Bob Doll and dollys bedstead for Emmy Dress-lengths and handkerchiefs for the maids. Parcel Various pieces of paper. Childrens things/toys/clothes Needlework Candle and Flowers for the Christmas Tree Act II Noras cloak and hat Large cardboard box In it , a fancy dress Various papers. props to take out of a box Silk stockings included Fur coat, high boots, and fur cap for Krogstad Mailbox/Letterbox Piano Tambourine Long, variegated shawl Act III Book for Mrs. Linde to read Key for doors, carried by Helmer Candles Cigar for Rank Match for lighting Ranks Cigar Letter bibliography bibliography Chambers, C., 2010. The Continuum Companion to Twentieth-Century Theatre, Oxford: Oxford University Press. Nationaltheatre.org.uk. 2022. [online] Available at: <https://www.nationaltheatre.org.uk/sites/default/files/Olivier-Theatre-seating-plan.pdf> [Accessed 29 January 2022].

powerpoint template

Transcript: Nobody knows babies like we do! Quality products . Good Customer service. Every Kid really loves this store.. BABYLOU ABOUT US About Us BabyLou was established in 2004. It has been more than a decade since we started, where we have ensured to take care of every need and want of every child and infant under one roof, true to the caption “NO BODY KNOWS BABIES LIKE WE DO”. Our benchmark is to provide 100% customer service and satisfaction and continue to deliver the same with a wide range of toys, garments and Baby Products. Play and Create We Are Best 01 02 03 Block games Building Blocks help Kids to use their brain. PLAY TO LEARN in Crusing Adventures Our Discoveries Enjoy a sunny vacation aboard a luxury yacht with the LEGO® Creator 3in1 31083 Cruising Adventures set. This ship has all the comforts you need, including a well-equipped cabin and a toilet. Sail away to a sunny bay and take the cool water scooter to the beach. Build a sandcastle, enjoy a picnic, go surfing or check out the cute sea creatures before you head back to the yacht for a spot of fishing. Escape into the mountains Disney Little Princes in Also available for your Babies..... Also... Out of The World… Our reponsibility BABYLOU…. Our Responsibility All children have the right to fun, creative and engaging play experiences. Play is essential because when children play, they learn. As a provider of play experiences, we must ensure that our behaviour and actions are responsible towards all children and towards our stakeholders, society and the environment. We are committed to continue earning the trust our stakeholders place in us, and we are always inspired by children to be the best we can be. Innovate for children We aim to inspire children through our unique playful learning experiences and to play an active role in making a global difference on product safety while being dedicated promoters of responsibility towards children.

Academic poster

Transcript: Multilingual and multimodal literacy beyond school: A case study of an adult vlogger in china Zulfa Amalia Safitri A 2018 | 1805085016 Introduction Introduction Background of the study Background of the study Sign-makers must be aware of modal affordances and integrate "a multitude of signs in different modes into a particular configuration to form a coherent arrangement" in order to coordinate and orchestrate multimodal resources (Kress, 2010, p. 162). Vlogs, as a relatively recent genre, have gained a lot of attention from both the public and academics. Vlogs are described as "short-duration user-generated videos that are distributed digitally for others to watch, subscribe to, or comment on" (Snelson, 2015, p. 322). Therefore, the goal of this study is to learn how the focal participant, an adult EFL speaker in mainland China, participates in bilingual vlogging, and whether the lack of linguistic capital and communicative inspiration in the immediate context, as assumed in the literature, works against the unusual (Leki, 2001; Reichelt et al., 2012). This case study attempts to provide a detailed and situated description of this particular literacy practice by analyzing the participant's experience of vlogging and her published vlogs. Purpose Purpose This research aims to reveal how the participant mobilizes and orchestrates design elements, as well as the factors that influence her decision-making. Research problem Research problem 1. How are diverse design elements mobilized and orchestrated in the vlogs? 2. What informs and influences the participant’s decision making in the designing process? Methodology Methodology Subject and sampling method Findings The focal participant of this study is Chloe (pseudonym. For sampling method, the researcher use accidental sampling method. Research method Data analysis method Qualitative study case method Interview transcript (for interview data). Multimodal analysis (for published vlogs). In orchestrating design elements in vlogs, the focal participant does not limited to a specific style of vlogging and that she uses a variety of linguistic, visual, and auditory cues to construct meanings and to interact with the audience. While the influences of the participant's decision making in the designing process are divided into four categories of factors that might influence her decision makings in vlog production. Conclusion Conslusion Conclusion This study examined at the voluntary vlogging activities of a Chinese EFL speaker. This study has implications for English literacy pedagogy in an EFL environment by looking at what the participant would do by self-directed activities. According to the results, a lack of communication with the target language population does not always reflect a lack of resources to participate in literacy activities. References References Ta, X. (2020). Multilingual and Multimodal Literacy Beyond School:. The Journal of Asia TEFL.

academic poster

Transcript: Why use gamification to increase engagement Why is engagement important? reduce staff turnover improve efficiency improve organizational productivity retain customers produce more profits Why is engagement important? What is gamification? What is gamification the use of game design elements in non-game context also the use of game design elements that can digitally engage and motivate people Aim of gamification Aim of gamification the aim of gamification is to increase the engagement level of the employees so that the employer can promote a certain behavior Elements that gamification influences Gamification objective is to change people’s behaviors. This can be done with the help of two main elements. Elements that gamification influences Motivation motivation represent what pushes people to act a certain way motivation Engagement engagement engagement refers to the interest, desire or attention for something the person belongs to Why use gamification to increase engagement? Why use gamification to increase engagement? Gamification has been proven to work to increase employee engagement Gamification enable the employee to be more engaged and productive in a fun and accessible way How can gamification lead to increased engagement? How can gamification lead to increased engagement? Gamification is 75% psychology and 25% technology tap into the psychology part of the brain virtual rewards in the game, linked with real life rewards 3 Element for a behavior to occur there is three elements that must unite at the same moment. Motivation The game needs to give the user motivation to do something Motivation Ability the ability to complete the task Ability Trigger trigger to complete the action Trigger Some pitfalls to consider Some pitfalls to consider motivation can be superficial wrong motivation direction the essence of a game is lost

Academic Poster

Transcript: In the last two years Northampton Colleges Hair and Beauty Department has changed from a National Vocational Qualification(NVQ) to a Vocationally Related Qualification(VRQ). Changing the qualification although still a recognised one means we are preparing students for industry rarther than them be ready for the shop floor. Once they have completed the VRQ students can move forward and do either the next level or get a job in industry and complete a NVQ, which is competence based. Teaching Delivery Hairdressing Theory is delivered in the salons depending on if a practical task needs to be practiced following the theory given. Hairdressing has a very hands on approach, so delivering theory like this works. In the beauty salons coaches are used to act as desks, fitting two students per bed. The room layout is lines with all students facing forward. This gives good eye contact, the tutor is aware of any students not paying attention but it is also good to see each student and have interation with each and everyone of them. (cc) image by nuonsolarteam on Flickr In the hairdressing department we provide many courses at different age and ability levels. If you are 19+ then no qualifications are needed to apply for a Level 2 course but if you are under 19 years you have to have 4 GCSE's grade D or above or have completed VRQ at level 1 but interviews take place before being offered a place to ensure suitablity and commitment for the course. Attendance needs to be high as it is a very practical subject. On induction to a level two course all students are required to do an initial assessment. At Northampton College this is a BSKB. This highlights any help required in numeracy and Literacy before starting the course so this can be implemented before the course commences. Students are offered provisional timetable choices at induction, there is a little movement on these to try and help students who have work or childcare issues. Beauty Curriculum Hair or Beauty In hairdressing it is highly influenced by the Spiral Curriculum, gaining knowledge and understanding of a technique. Putting newly learnt techniques into practice before building and increasing their knowledge. Although it could also be Co-ordinated Curriculum, a student could be doing functional skills along side their hairdressing course. In the Beauty department interviews take place and a provisional place may be offered but to gain a place on a level 2 course you need to have a minimum of four GCSE's at a D grade or above. Courses run from September and can be one or two years and students can also advance and continue onto level three. Introduction

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