เนื่องจากเป็นระเบียบของทางมหาวิทยาลัย ขอให้นักศึกษาทุกคนส่ง ไฟล์งานทั้งของเล่มรายงานและไฟล์งานดีไซน์ด้วย
โดยส่งเป็นแผ่นcd หรือ dvd ก็ได้ส่งกับอาจารย์ภัทรที่ห้องอาจารย์ภัทร ในวันพุธที่ 23 ก.พ. นี้นะคะ
วันอังคารที่ 22 กุมภาพันธ์ พ.ศ. 2554
วันอาทิตย์ที่ 20 กุมภาพันธ์ พ.ศ. 2554
การส่งงาน
1 รูปเล่มรายงานวิจัย
2 work book (รวมเอกสารอ้างอิงทางการค้นคว้าวิจัยทั้งหมด)
3 สมุดcomment (ถ้ามี)
กำหนดการคือเริ่มส่งได้ตั้งแต่เวลา 13.00น. - 15.00น. โดยอาจารย์ภัทรจะเป็นผู้รับงานแทนอาจารย์ส่งได้ที่ห้องอาจารย์ภัทร
2 work book (รวมเอกสารอ้างอิงทางการค้นคว้าวิจัยทั้งหมด)
3 สมุดcomment (ถ้ามี)
กำหนดการคือเริ่มส่งได้ตั้งแต่เวลา 13.00น. - 15.00น. โดยอาจารย์ภัทรจะเป็นผู้รับงานแทนอาจารย์ส่งได้ที่ห้องอาจารย์ภัทร
วันพฤหัสบดีที่ 17 กุมภาพันธ์ พ.ศ. 2554
Presentation
สำหรับการนำเสนองานครั้งสุดท้ายที่จะมีขึ้นในวันเสาร์ที่ 19 ก.พ. 2554 นี้ ณ ห้อง 8-306
สำหรับผู้ที่ Present ช่วงเช้า ให้เริ่มอัพไฟล์งาน (Power Point หรือ PDF) เวลา 8.45 น.
เริ่มการ Present เวลา 9.00 น. ห้ามสาย...Present คนละ 8 นาที และ รับ Comment 2 นาที
ถ้ามาสายเวลาจะถูกหักไปตามระยะเวลาที่มาสาย ขอให้ทุกคนรับผิดชอบด้วยค่ะ
และสำหรับผู้ที่ Present ช่วงบ่าย ให้เริ่มอัพไฟล์งาน (Power Point หรือ PDF) เวลา 12.15 น.
และเริ่มการ Present เวลา 12.30 น.
เนื้อหาการ Present
- กล่าวถึงความเดิม (ตามหัวข้อที่นำเสนอไปในครั้งแรก) สรุปใจความให้สั้นเหลือเพียง 2 นาที
- สรุปผล วิเคราะห์และสังเคราะห์ผลการวิจัย 2 นาที
- อธิบายถึงที่มาที่ไปของเหตุและผลที่ได้จากการทำวิจัยจนกลายมาเป็นแนวคิดในการออกแบบ 3 นาที
- กล่าวสรุปเกี่ยวกับงานวิจัยในครั้งนี้ รวมถึงความรู้ที่ได้จากการทำวิจัย 1 นาที
วันจันทร์ที่ 7 กุมภาพันธ์ พ.ศ. 2554
วันจันทร์ที่ 31 มกราคม พ.ศ. 2554
ResearchTactics
 | |
| Source: A Designer Research Manual Book Formative Research and Summative Research Many tactics can be either formative or summative, depending how they are utilized during the cycle of the project. For example, user testing might be performed before beginning the design of the new website, by having test subjects navigate selected URLs while tracking their responses. The data collected in those sessions would be inform navigational structures for the new site. Formative Research is used to gain insight into an area of study or to help the researcher define the research question. This kind of research is especially useful for the business innovation, identifying and then clarifying communication issues is essential. Formative Research is done at the beginning of the project cycle to guide the design process. Summative Research is done at the end of the project to determine its success, guage customer satisfaction, or inform future project. This kind of research is used to frame and decipher the outcome of and investigation process. It confirms that the original hypothesis is correct or illustrates that it is flawed. Summative Research can answer the questions such as " Did i do it correctly? Did i make it better? Is it more successful? " |
วันอังคารที่ 25 มกราคม พ.ศ. 2554
++ประกาศ++
ในอังคารที่ 1 กุมภาพันธ์ 2554 มีการเรียนการสอนกันตามปกตินะคะ
ขอให้นักศึกษาทุกคนเข้าเรียนตามปกติเวลา 13.30น. - 16.30น. ค่ะ
และในชั้นเรียนคราวนี้อาจารย์ขอดู Design Outcome ของทุกคนด้วย
เพื่อรับ comment จากอาจารย์และอาจารย์ภัทรด้วยค่ะ
และนี่คือ รหัสประจำตัวนักศึกษาที่ขาดเรียนเกิน 3 ครั้ง
ขอให้นักศึกษาทุกคนเข้าเรียนตามปกติเวลา 13.30น. - 16.30น. ค่ะ
และในชั้นเรียนคราวนี้อาจารย์ขอดู Design Outcome ของทุกคนด้วย
เพื่อรับ comment จากอาจารย์และอาจารย์ภัทรด้วยค่ะ
และนี่คือ รหัสประจำตัวนักศึกษาที่ขาดเรียนเกิน 3 ครั้ง
ซึ่งอาจารย์เห็นว่าพวกคุณควรไปDropเรียนในรายวิชานี้ART360
เนื่องจากเวลาเรียนของพวกคุณไม่พอนะคะ500135
500625
500625
502845
5104230
วันจันทร์ที่ 24 มกราคม พ.ศ. 2554
Appearance
Improve Your Personality To Improve Your Appearance
Appearance is a very important thing in our modern world. Our world is constantly being influenced by movie and television stars that embody physical beauty at its finest. However, many people overlook the fact that there is more to beauty than simply having the “right look”.
Personality is one aspect of beauty that is much overlooked these days. Focusing one’s attention on improving your personality is a healthy and lasting way to improve your attractiveness. A recent study, which was done by the University of Central Florida, revealed that men are willing to overlook the physical appearance of a woman if she’s likeable and friendly. This means that people who may not necessarily measure up to the modern day standards of physical attractiveness may be considered beautiful.
Personality need not compete with physical appearance: they should go hand in hand with each other to optimize one’s features inside and out.
Knowing one’s personality
Knowing your own personality is a key step toward using it for the betterment of your appearance. One should take time to recognize the kind of personality he/she has. There are many books and instructional materials available about how to identify the type of personality you have. Many support groups and tests n the Internet are available to assist you in this endeavor.
All personalities have a good side
Anyone’s personality type can be viewed by others as a flawed one. People who are overly aggressive or extremely quiet can be seen by others as weird, but almost every one is weird relative to the views of another person. There are many ways of using your personality toward the betterment of yourself.
Managing one’s traits
There are always areas for improvement in any kind of personality. You should be able to identify them and be able correct any bad traits.
Highlighting one’s good traits
Putting your positive traits in the spot light is the true essence of using personality as a tool to appear more attractive. Everyone possesses certain characteristics that are positive and unique.
Each person has his/her own personality. Personality improvement is just one of the ways to fully optimize the inherent beauty that you possess. Personality and physical appearance should always go hand in hand with each other. Personality is the reflection of inner beauty that transcends into the physical world. People should realize that beauty is more than the physical appearance.
Personality is one aspect of beauty that is much overlooked these days. Focusing one’s attention on improving your personality is a healthy and lasting way to improve your attractiveness. A recent study, which was done by the University of Central Florida, revealed that men are willing to overlook the physical appearance of a woman if she’s likeable and friendly. This means that people who may not necessarily measure up to the modern day standards of physical attractiveness may be considered beautiful.
Personality need not compete with physical appearance: they should go hand in hand with each other to optimize one’s features inside and out.
Knowing one’s personality
Knowing your own personality is a key step toward using it for the betterment of your appearance. One should take time to recognize the kind of personality he/she has. There are many books and instructional materials available about how to identify the type of personality you have. Many support groups and tests n the Internet are available to assist you in this endeavor.
All personalities have a good side
Anyone’s personality type can be viewed by others as a flawed one. People who are overly aggressive or extremely quiet can be seen by others as weird, but almost every one is weird relative to the views of another person. There are many ways of using your personality toward the betterment of yourself.
Managing one’s traits
There are always areas for improvement in any kind of personality. You should be able to identify them and be able correct any bad traits.
Highlighting one’s good traits
Putting your positive traits in the spot light is the true essence of using personality as a tool to appear more attractive. Everyone possesses certain characteristics that are positive and unique.
Each person has his/her own personality. Personality improvement is just one of the ways to fully optimize the inherent beauty that you possess. Personality and physical appearance should always go hand in hand with each other. Personality is the reflection of inner beauty that transcends into the physical world. People should realize that beauty is more than the physical appearance.
BookDesign
| The Basic Principles for Book Design Source: http://www.members.shaw.ca/nathanieldesign/book_layout.htm Once the task of writing and proofreading your manuscript is complete, the next step is to create a proper page layout for your book. The term “page layout” is used simply to describe the way text and images are situated on a page. In order for your book to have a professional look and feel, there are four basic principles to follow when doing the layout. | |||||
| Contrast In order for your page layout to be visually appealing and to keep the readers interest, you should have contrast on your pages. Notice the use of contrast on this page: color, font size, font style, and bold headings. Use a contrasting type for headings and keep them very different from the body type. Don't go overboard, use one type for the body copy and a different one for the headings. Consider a newspaper and how the headings are larger and bolder. Alignment Choose one justification and stick to it. As a rule, center justification will give the book layout a formal look. It is commonly used for wedding invitations, formal announcements, etc. Left justification will give a more conservative professional look. Full justification will give your book layout a clean orderly look. With full justification, your headings could be either left, right, or centered. Repetition Create a sense of unity to your book layout adding a few visual elements that you like, and then repeating them throughout. Look through some of your favorite books to see what they have used, you may get some inspiration for your book layout. Perhaps a decorative ornament under the heading of each chapter, or a fancy drop cap to start each chapter might give your book a special look. Proximity Organize your type properly by grouping things together that relate to each other | |||||
CharacterDesign
 |
| Source: http://www.computerarts.co.uk/in_depth/features/20_character_design_tips |
20 Character Design Tips
Lacking character? Jon Burgerman drums up 20 tips for creating fantastic characters and the best ways to bring them to life
Character design can be a tricky beast to tackle, because although many of the classic characters familiar to us all through cartoons, entertainment and advertising look simple, that simplicity usually belies the many hours of work that have gone into their development.
From Mickey Mouse’s famous three-fingered hands – drawn to save production time when the character was first developed for animations in the 1920s – to the elegant simplicity of Homer Simpson, character design has always been about keeping it simple. But aside from clean lines and easily readable features, what else are you going to need to know? There’s knowing what to exaggerate and what to play down, what to add to give a hint of background and depth, and what to do to develop personality. Getting started can be the trickiest part in any character development project, but once you’ve got some ideas these tips will help you breath life into your creation…
1: Research and evaluate
It can be helpful to try and deconstruct why certain characters and their characteristics work and why some don’t. There’s no shortage of research material to be found, with illustrated characters appearing everywhere: on TV commercials, cereal boxes, shop signs, stickers on fruit, animations on mobile phones, and more. Study these characters and think about what makes some successful and what in particular you like about them.
2: Design and planWhere will the character be seen and in what medium? This will have a direct bearing on how you go about your design. For example, if the character is for a mobile-phone screen, there’s no point designing it to have a lot of intricate details and features. Nathan Jurevicius says, regardless of the format, “The process of thinking up concepts always starts the same: paper, pencil, green tea... lots of thumbnails, written ideas, scratches and sketches over sketches.”
3: Who is it aimed at?
Think about your audience. Characters aimed at young children, for example, are typically designed around basic shapes and bright colours. If you’re working for a client, the character’s target audience is usually predetermined, as Nathan Jurevicius explains: “Commissioned characters are usually more restrictive but no less creative. Clients have specific needs but also want me to do my ‘thing’. Usually, I’ll break down the core features and personality. For example, if the eyes are important then I’ll focus the whole design around the face, making this the key feature that stands out.”
4: Visual impact
Whether you’re creating a monkey, robot or monster, you can guarantee there are going to be a hundred other similar creations out there. Your character needs to be strong and interesting in a visual sense to get people’s attention. When devising The Simpsons, Matt Groening knew he had to offer the viewers something different. He reckoned that when viewers were flicking through TV channels and came across the show, the characters’ unusually bright yellow skin colour would grab their attention.
5: Line qualities and styles
The drawn lines of which your character is composed can go some way to describing it. Thick, even, soft and round lines may suggest an approachable, cute character, whereas sharp, scratchy and uneven lines might point to an uneasy and erratic character. Sune Ehlers characters are bold and seem to dance on the page, which echoes his approach to drawing them. He explains: “Drawing a doodle is about decisive pen-manoeuvring. A strong line for me comes from strength and rhythm.”
6: Exaggerated characteristics
Exaggerating the defining features of your character will help it appear larger than life. Exaggerated features will also help viewers to identif y the character’s key qualities. Exaggeration is key in cartoon caricatures and helps emphasise certain personality traits. If your character is strong, don’t just give it normal-sized bulging arms, soup them up so that they’re five times as big as they should be!
7: Colour me bad
Colours can help communicate a character’s personality. Typically, dark colours such as black, purples and greys depict baddies with malevolent intentions. Light colours such as white, blues, pinks and yellows express innocence, good and purity. Comic-book reds, yellows and blues might go some way to giving hero qualities to a character.
8: Adding accessories
Props and clothing can help to emphasise character traits and their background. For example, scruffy clothes can be used for poor characters, and lots of diamonds and bling for tasteless rich ones. Accessories can also be more literal extensions of your character’s personality, such as a parrot on a pirate’s shoulder or a maggot in a ghoul’s skull.
9: The third dimension
Depending on what you have planned for your character, you might need to work out what it will look like from all angles. A seemingly flat character can take on a whole new persona when seen from the side if, for example, it has a massive beer belly. If your character is going to exist within a 3D world, as an animation or even as a toy, working out its height, weight and physical shape is all important.
10: Conveying personality
Interesting looks alone do not necessarily make for a good character; its personality is key as well. A character’s personality can be revealed through comic strips and animations, where we see how it reacts to certain situations. The personality of your character doesn’t have to be particularly agreeable, but it does need to be interesting (unless your characters is purposely dull). Personality can also be expressed simply in how the character has been drawn.
11: Express yourself
Expressions showing a character’s range of emotions and depicting its ups and downs will further flesh out your character. Depending on its personality, a figure’s emotions might be muted and wry or explosive and wildly exaggerated. Classic examples of this can be found in the work of the legendary Tex Avery: the eyes of his Wild Wolf character often pop out of its head when it’s excited. Another example of how expressions communicate motions is deadpan Droopy, who barely registers any sort of emotion at all.
12: Goals and dreams
The driving force behind a character’s personality is what it wants to achieve. This missing ‘something’ – be it riches, a girlfriend or solving a mystery – can help to create the dramatic thrust behind the stories and adventures your character gets up to. Often the incompleteness or flaws in a character are what make it interesting.
13: Building back stories
If you’re planning for your character to exist within comics and animations then developing its back story is important. Where it comes from, how it came to exist and any life-changing events it has experienced are going to help back up the solidity of, and subsequent belief in, your character. Sometimes the telling of a character’s back story can be more interesting than the character’s present adventures… or not, in the case of the Star Wars prequels.
14: Quick on the drawDon’t be afraid to experiment and ignore all the rules and tips about planning and crafting the look of your character. Going against what is supposed to be the right way of doing something could create unexpected and exciting results. When artist Yuck creates his characters he doesn’t really know what he’ll draw. “I just listen to music and draw the result dependent on my mood: freaky or cute. I always want to have a drawing that I find interesting. I then work more on the character after it’s okay with me and my brain,” he says.
15: Hone, plan and polish
Instead of just drawing or doodling without too much pre-planning, Nathan Jurevicius prefers to take a different approach. “I take a long time creating finished looking roughs and also thinking about how the character could be expanded beyond a 2D artwork, what the character will do in a specific world, and how it speaks and acts,” he says.
16: Drawn in mud
Having decent materials to work with is useful, but not essential, for the early planning of your character. A lot of amazing characters were successfully designed years ago when no one had personal computers and Photoshop was just a dream. The drawings of your character should still work when rendered on paper with a simple pen or, as Sune Ehlers puts it, “The character should still be able to work with a stick dipped in mud and drawn on asphalt.”
17: Real-world drawing
Ian, of I Like Drawing, generates some of his characters away from both the computer and the sketchbook, allowing outside elements to influence his work. “I really like characters that interact with their surroundings,” he says. “The environment normally suggests an idea and then I let my strange mind do the rest. I prefer drawing in the real world with a pen instead of on the computer, because it feels good and odd things happen.”
18: Release the beast
Show people your creations and ask them what they think. Don’t just ask whether they like them or not. Instead, see if they can pick up the personalities and traits of your characters. Find who you think is the suitable or ideal audience for your work and get feedback specifically from them about it.
19: Beyond the characterIn the same way that you create a history for your character, you need to create an environment for it to help further cement believability in your creation. The world in which the character lives and interacts should in some way make sense to who the character is and what it gets up to.
20: Fine-tuning a figure
Question each element of your creation, especially things such as its facial features. The slightest alteration can have a great effect on how your character is perceived. Illustrator Neil McFarland advises: “Think about the meaning of the word ‘character’. You’re supposed to breath life into these things, make them appealing and give them the magic that will allow people to imagine what they’re like to meet and how they might move. I think it’s strange how creating characters for the sake of it has become a distinct branch of graphic design.”
1: Research and evaluate
It can be helpful to try and deconstruct why certain characters and their characteristics work and why some don’t. There’s no shortage of research material to be found, with illustrated characters appearing everywhere: on TV commercials, cereal boxes, shop signs, stickers on fruit, animations on mobile phones, and more. Study these characters and think about what makes some successful and what in particular you like about them.
2: Design and planWhere will the character be seen and in what medium? This will have a direct bearing on how you go about your design. For example, if the character is for a mobile-phone screen, there’s no point designing it to have a lot of intricate details and features. Nathan Jurevicius says, regardless of the format, “The process of thinking up concepts always starts the same: paper, pencil, green tea... lots of thumbnails, written ideas, scratches and sketches over sketches.”
3: Who is it aimed at?
Think about your audience. Characters aimed at young children, for example, are typically designed around basic shapes and bright colours. If you’re working for a client, the character’s target audience is usually predetermined, as Nathan Jurevicius explains: “Commissioned characters are usually more restrictive but no less creative. Clients have specific needs but also want me to do my ‘thing’. Usually, I’ll break down the core features and personality. For example, if the eyes are important then I’ll focus the whole design around the face, making this the key feature that stands out.”
4: Visual impact
Whether you’re creating a monkey, robot or monster, you can guarantee there are going to be a hundred other similar creations out there. Your character needs to be strong and interesting in a visual sense to get people’s attention. When devising The Simpsons, Matt Groening knew he had to offer the viewers something different. He reckoned that when viewers were flicking through TV channels and came across the show, the characters’ unusually bright yellow skin colour would grab their attention.
5: Line qualities and styles
The drawn lines of which your character is composed can go some way to describing it. Thick, even, soft and round lines may suggest an approachable, cute character, whereas sharp, scratchy and uneven lines might point to an uneasy and erratic character. Sune Ehlers characters are bold and seem to dance on the page, which echoes his approach to drawing them. He explains: “Drawing a doodle is about decisive pen-manoeuvring. A strong line for me comes from strength and rhythm.”
6: Exaggerated characteristics
Exaggerating the defining features of your character will help it appear larger than life. Exaggerated features will also help viewers to identif y the character’s key qualities. Exaggeration is key in cartoon caricatures and helps emphasise certain personality traits. If your character is strong, don’t just give it normal-sized bulging arms, soup them up so that they’re five times as big as they should be!
7: Colour me bad
Colours can help communicate a character’s personality. Typically, dark colours such as black, purples and greys depict baddies with malevolent intentions. Light colours such as white, blues, pinks and yellows express innocence, good and purity. Comic-book reds, yellows and blues might go some way to giving hero qualities to a character.
8: Adding accessories
Props and clothing can help to emphasise character traits and their background. For example, scruffy clothes can be used for poor characters, and lots of diamonds and bling for tasteless rich ones. Accessories can also be more literal extensions of your character’s personality, such as a parrot on a pirate’s shoulder or a maggot in a ghoul’s skull.
9: The third dimension
Depending on what you have planned for your character, you might need to work out what it will look like from all angles. A seemingly flat character can take on a whole new persona when seen from the side if, for example, it has a massive beer belly. If your character is going to exist within a 3D world, as an animation or even as a toy, working out its height, weight and physical shape is all important.
10: Conveying personality
Interesting looks alone do not necessarily make for a good character; its personality is key as well. A character’s personality can be revealed through comic strips and animations, where we see how it reacts to certain situations. The personality of your character doesn’t have to be particularly agreeable, but it does need to be interesting (unless your characters is purposely dull). Personality can also be expressed simply in how the character has been drawn.
11: Express yourself
Expressions showing a character’s range of emotions and depicting its ups and downs will further flesh out your character. Depending on its personality, a figure’s emotions might be muted and wry or explosive and wildly exaggerated. Classic examples of this can be found in the work of the legendary Tex Avery: the eyes of his Wild Wolf character often pop out of its head when it’s excited. Another example of how expressions communicate motions is deadpan Droopy, who barely registers any sort of emotion at all.
12: Goals and dreams
The driving force behind a character’s personality is what it wants to achieve. This missing ‘something’ – be it riches, a girlfriend or solving a mystery – can help to create the dramatic thrust behind the stories and adventures your character gets up to. Often the incompleteness or flaws in a character are what make it interesting.
13: Building back stories
If you’re planning for your character to exist within comics and animations then developing its back story is important. Where it comes from, how it came to exist and any life-changing events it has experienced are going to help back up the solidity of, and subsequent belief in, your character. Sometimes the telling of a character’s back story can be more interesting than the character’s present adventures… or not, in the case of the Star Wars prequels.
14: Quick on the drawDon’t be afraid to experiment and ignore all the rules and tips about planning and crafting the look of your character. Going against what is supposed to be the right way of doing something could create unexpected and exciting results. When artist Yuck creates his characters he doesn’t really know what he’ll draw. “I just listen to music and draw the result dependent on my mood: freaky or cute. I always want to have a drawing that I find interesting. I then work more on the character after it’s okay with me and my brain,” he says.
15: Hone, plan and polish
Instead of just drawing or doodling without too much pre-planning, Nathan Jurevicius prefers to take a different approach. “I take a long time creating finished looking roughs and also thinking about how the character could be expanded beyond a 2D artwork, what the character will do in a specific world, and how it speaks and acts,” he says.
16: Drawn in mud
Having decent materials to work with is useful, but not essential, for the early planning of your character. A lot of amazing characters were successfully designed years ago when no one had personal computers and Photoshop was just a dream. The drawings of your character should still work when rendered on paper with a simple pen or, as Sune Ehlers puts it, “The character should still be able to work with a stick dipped in mud and drawn on asphalt.”
17: Real-world drawing
Ian, of I Like Drawing, generates some of his characters away from both the computer and the sketchbook, allowing outside elements to influence his work. “I really like characters that interact with their surroundings,” he says. “The environment normally suggests an idea and then I let my strange mind do the rest. I prefer drawing in the real world with a pen instead of on the computer, because it feels good and odd things happen.”
18: Release the beast
Show people your creations and ask them what they think. Don’t just ask whether they like them or not. Instead, see if they can pick up the personalities and traits of your characters. Find who you think is the suitable or ideal audience for your work and get feedback specifically from them about it.
19: Beyond the characterIn the same way that you create a history for your character, you need to create an environment for it to help further cement believability in your creation. The world in which the character lives and interacts should in some way make sense to who the character is and what it gets up to.
20: Fine-tuning a figure
Question each element of your creation, especially things such as its facial features. The slightest alteration can have a great effect on how your character is perceived. Illustrator Neil McFarland advises: “Think about the meaning of the word ‘character’. You’re supposed to breath life into these things, make them appealing and give them the magic that will allow people to imagine what they’re like to meet and how they might move. I think it’s strange how creating characters for the sake of it has become a distinct branch of graphic design.”
2nd_Consulting
การปรึกษางานในครั้งที่ 2 นี้เริ่มเวลา 13.00 น. - 17.00 น. ที่ห้อง 106-107
จะใช้เวลาคนละ 10 นาที โดยเรียงตามลำดับตามที่นักศึกษาได้ลงชื่อไว้ดังนี้
รอบ 13.00 น. - 14.00 น.
5104611
5100670
5100662
490289
490208
5101243
รอบ 14.00 น. - 15.00 น.
5100116
5100334
5102015
5100392
5104062
500294
รอบ 15.00 น. - 16.00 น.
5100912
5100566
5201199
5100511
5100988
5100660
รอบ 16.00 น. - 17.00 น.
5104230
5100434
5105503
ให้นักศึกษาทุกคนช่วยปริ้นท์เล่มรายงานออกมาให้อาจารย์ด้วยนะคะ เพื่อจะได้
สะดวกต่อการอ่านและการ Comment ค่ะ โดยเนื้อหาของเล่มควรจะมีถึงหัวข้อ
การวิเคราะห์และการสังเคราะห์ พร้อมSketch Design คร่าวๆมาบ้างค่ะ
จะใช้เวลาคนละ 10 นาที โดยเรียงตามลำดับตามที่นักศึกษาได้ลงชื่อไว้ดังนี้
รอบ 13.00 น. - 14.00 น.
5104611
5100670
5100662
490289
490208
5101243
รอบ 14.00 น. - 15.00 น.
5100116
5100334
5102015
5100392
5104062
500294
รอบ 15.00 น. - 16.00 น.
5100912
5100566
5201199
5100511
5100988
5100660
รอบ 16.00 น. - 17.00 น.
5104230
5100434
5105503
ให้นักศึกษาทุกคนช่วยปริ้นท์เล่มรายงานออกมาให้อาจารย์ด้วยนะคะ เพื่อจะได้
สะดวกต่อการอ่านและการ Comment ค่ะ โดยเนื้อหาของเล่มควรจะมีถึงหัวข้อ
การวิเคราะห์และการสังเคราะห์ พร้อมSketch Design คร่าวๆมาบ้างค่ะ
วันอังคารที่ 18 มกราคม พ.ศ. 2554
1st_Consulting
การปรึกษางานวันนี้เริ่ม 13.00 น. - 17.00 น. ที่ห้อง 106-107
ใช้เวลาคนละ 10 นาที โดยเรียงตามลำดับที่นักศึกษาลงชื่อไว้ดังนี้
รอบที่ 13.00 น. - 14.00 น.
5100174
5100300
5100316
5100945
5100392
5104686
5100434
ใช้เวลาคนละ 10 นาที โดยเรียงตามลำดับที่นักศึกษาลงชื่อไว้ดังนี้
รอบที่ 13.00 น. - 14.00 น.
5100174
5100300
5100316
5100945
5100392
5104686
5100434
วันจันทร์ที่ 17 มกราคม พ.ศ. 2554
**ประกาศ**
นี่คือ รหัสประจำตัวนักศึกษาที่ขาดเรียนครบ 3 ครั้งแล้ว
490208
5100511
5104230
และนี่คือ รหัสประจำตัวนักศึกษาที่ขาดเรียนเกิน 3 ครั้ง
ซึ่งอาจารย์มีความจำเป็นต้องให้พวกคุณไปDropเรียนในรายวิชานี้ART360
เนื่องจากเวลาเรียนของพวกคุณไม่พอ500625
502845สำหรับผู้ที่สงสัยอยากทราบข้อมูลเพิ่มเติมให้ติดต่ออาจารย์มาที่
email: rsu.class@gmail.com นี้ได้ค่ะ...
วันจันทร์ที่ 10 มกราคม พ.ศ. 2554
WIP_2ndRound
ประกาศ.......สำหรับ WIP Presentation รอบ 2 ที่จะมีขึ้นในวันอังคารที่ 11 ม.ค. 2554 นี้
การนำเสนอความคืบหน้าของงานวิจัยของนักศึกษาจะเริ่มตั้งแต่ 13.00-16.00 น.
ดังนั้นขอให้ทุกคนมาพร้อมกันที่ห้อง LAB 307 นะคะ
วันอาทิตย์ที่ 9 มกราคม พ.ศ. 2554
วันจันทร์ที่ 3 มกราคม พ.ศ. 2554
วันอาทิตย์ที่ 2 มกราคม พ.ศ. 2554
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