Wednesday 18 July 2012

Digitizing one's art and designs for an online portfolio

Written for those Visual Arts and Design learners (and their educators) interested in digitizing artwork for upload to their online portfolios.

Making good digital copies of artwork is a core competence in creating an online portfolio that does justice to your originals. This post was written for novices wanting to achieve this through sufficiently understanding the process and key concepts of digitization. Links to other website articles and online videos have also been provided for more in-depth assistance.

The digitization process
There is a eight-step process you must follow in digitizing your art: 
  1. Collate your best artworks and designs;
  2. Organize access to digitization tools;
  3. Get your work ready for digitization; 
  4. Digitize your works with a scanner or camera;
  5. Save each work to your digital archive with an appropriate filename and format;
  6. Edit your files to get them upload-ready;
  7. Upload your files;
  8. Backup your archive.
1. Collate your best artworks and designs.
You online portfolio should showcase your best art to viewers. So, it is important to keep your digital up-to-date by digitizing your latest (and best) artwork and design projects. It is helpful to review your curricular tasks and sketchbooks to check what you have done, and should these creative works are at different sites (such as home, school studio, boarding house, art center, government exhibitions, etc.), you must plan a schedule for collating them. You should also consider diarising a digization session on a regular basis; this will prompt you to set the time aside for updating your personal digital archives and online portfolio.

2. Organize access to digitization tools.
Once you've collated the artworks you want to digitize, you must organize access and help with the appropriate tools. The type you need to digitize your artworks should depend on their size and dimensions:
  1. For very small (21.5cm x 35.5cm), two-dimensional (2D) works and small, relatively flat three-dimensional (3D) ones use an A4 flatbed image scanner;
  2. For small (297 × 420) 2D and flat 3D works, use an A3 flatbed scanner;
  3. For medium and large 2D works use a tripod-mounted camera (or mobile phone camera) in well-lit studio;
  4. For medium and large 3D works use a tripod-mounted camera, video-recorder or mobile phone video camera.
If you are at a well-resourced school with a computer lab and library, you should be able to organize scanner assistance with either your Visual Arts or Design educator, your computer lab's IT manager or a librarian. You may also be able to ask your Visual Arts or Design educator to setup a well-lit area for you and your classmates to take pictures or video-record your bigger works, too.

If you do not have access to a scanner, camera or video-recorder at school, you should investigate alternatives. These could include:
  • Getting help from family and or friends at home or at their work;
  • Receiving support at an Arts Center or your local library;
  • Or paying for assistance at your local photocopying shop or internet cafe.
3. Get your work ready for digitization.
Once you have defined where and when you can digitize your images, you should order your collated artworks and designs in descending order; from your best, downwards. This will ensure that should you run out of time, you at least have digitized your best works first.

  • Any small drawings in smudge-able media (like charcoal or pastel) should be sprayed with fixative, so that they do not change whilst marking the scanner!
  • All glass-framed work should be removed from its framing, since photographing or scanning a glass surface without reflections is more complex.
  • Check that any fragile work is safely stored for transport to the digitization venue.
4. Digitize your artworks with a scanner or a camera.
Working with digitization tools means learning some new terminology: you will use these tools to create 'raster images' made up of 'pixels'. Designers and digital artists distinguish between 'vector' and 'raster' images; vector images are images based on mathematical primitives, whose expressions are used to create computer graphic images, and are generally used for typesetting and graphic design. Raster images, or 'bitmaps', are going to be used when you create your photographs and scans. These images are made up of tiny colour squares. These colour squares are pixels (there is a parallel between the pixels and the tiles in mosaics).

Raster graphics are resolution dependent and cannot scale up to an arbitrary resolution without loss of apparent quality (unlike vector graphics, which easily scale up to the quality of the device rendering them). Before digitizing work, it is important to decide what you may want to use your digitized artworks for in the future. For example, you may have two objectives: in addition to using reduced images for your online portfolio website, you may want to print your digitized works on A4 paper.
Defining your objectives are vitally important; they should determine the initial resolution in 'dots per inch' and image size settings you choose when scanning or photographing imagery.

'Dots per inch' (dpi) refers to the number of dots of colour a colour printer creates when printing work, while 'pixels per linear inch' (ppi) refers to the number of pixels per linear inch in a raster image. For example, you would choose a high resolution, like 20,000-ppi, and a large format if you wanted to reprint your artwork at the same size. Or you would convert imagery to a small size for speedy display on a webpage (and at a low resolution, though this need not be a low, 72 dpi!) N.B. Please note that if you are only able to gain access to a mobile phone camera, its sizing is generally much higher than that used in internet imagery, so you can readily create online portfolios imagery with it.

Given the wide variety of scanners and cameras (including video and mobile) available, this post cannot possibly address techniques for specific equipment. It's up to you to take the initiative and either find help at your school, at home, outside or 'Do-It-Yourself' by referring to the online resources below (and/or finding the relevant equipment's manual(s)!).

4.1 Useful online resources for scanning or photographing your works:
A4 or A3 scanning introduction 
Scantip's beginner guide at by Wayne Fulton is a great resource that will help you no matter what type of scanner you use.

Photographing your painting
Tyler Stalman's introduction at is a useful guide.

Photographing your sculpture
Chris Warner shows at how to use artificial and natural light to photograph sculptures.

Same size imagery from scanning or photography
If you want to create same size imagery from your scans or photographs, read Lar Matré's article at to learn how complex this is.

Video screenshots
You can use a video camera to take still photos of your work or your can take lower-resolution screenshots of video with a screenshot (on PC see {with your volume low} or on Mac, watch

Search for other resources
If you are having problems digitizing works, use a search engine like Google or Bing to see if there is helpful content on the relevant terms: i.e. If glossy surfaces are posing a problem, search using 'How to photograph shiny surface',

N.B. To cut down on editing time, please ensure the layout of your artwork matches that you want to see in your online portfolio when your  (ie. with minimal or no background showing, nor upside down or at an unusual angle!)

5. Save each work to your digital archive with an appropriate filename and format.
Based on my design experience, I would recommend that you should first capture your imagery in a high resolution (at 300 dots per inch, or greater) TIF image file format and then export this as a small size JPG format.  The reasoning for this is that you can keep your TIF files in reserve (for larger image work, like poster creation, for example), than you would be required when using small JPG files for Carbonmade uploads.

Check that your scanner or scanner is set to scan TIF files at high resolution after the image preview is shown. You should save the source TIF scans in a folder, and create a sub-folder within it for the JPG exports. You should also give your exported files different names to ensure its easier to spot the difference between the large and small versions. For example, 'table mountain sketch 17 July 2012.bmp' is exported as 'table mountain sketch small 17 July 2012.jpg'.

6. Edit your files to get them upload-ready.
You set your scanner or camera's software to edit and export imagery in JPG format. Alternatively, you can use Microsoft Picture Manager on PC, Preview on Mac, or GIMP on Ubuntu. Simply click on the appropriate link for a tutorial. 

Open the jpg file(s), then focus on learning how to get the appropriate image dimension, cropping technique, colour-balance and size:

6.1 Try out different image dimensions
You will need to experiment with the dimensions that work best for you, but it should not be smaller than 448 by 336 pixels, as you will see on the 'appropriate image sizes for uploading to web/adding to documents/sending by e-mail' listed below:

A. 1024 x 768 ppi   Large document
B. 800 x 600 ppi     Small document
C. 640 x 480 ppi     Large webpage image
D. 448 x 336 ppi     Small webpage image (unsuitable– too small, low quality)
E. 314 x 235 ppi     Large email (unsuitable)
F. 160 x 160 ppi     Small email (unsuitable)(N.B. These may vary to some extent depending of original dimensions of image captured).

Please check that the sizing you use for digitised imagery is consistent for your portrait and landscape formats, respectively; if these sizes vary significantly it will create a jarring visual effect for the viewer scrolling through your works. That's fine if it's deliberate, but a poor show, if not!

6.2 Cropping 
An important aspect of presentation is to ensure that the digitised images of your artworks are cropped neatly to the edge and no extraneous background should be visible, unless this is consistently done. For example, including the wireframe of your sketchbook may be an interesting touch when done in all sketch scans, but odd if done just for one.

6.3 Colour balance 
You can also try out the different colour-scheme in the editor, as listed on Once you have defined a scheme, you can also explore how changing an image's colour balance settings enhances (or degrades) your image's appeal.

6.4 Image size
Once you are happy with how your image looks, you need to check its file size. If you have followed the dimensions guide (6.1) it should be less than 1 Megabyte. If not, you need to be aware that a
large file size may take a while to upload and the download-time for your viewers will also be slow if they are on slow connections.

7. Upload your files.
Log into your online portfolio service and upload your files. If you have a slow connection, it is safest to  upload your files one at a time since batch upoads may time out when your school's broadband is being heavily used by other learners.

8. Backup your archive.
Finally, there are two types of computer users on earth; those who have lost data through computer hard-drive failure, and those who are about to! Rather than regretting that you didn't backup your digital artwork archive, you should schedule regular backups and do them to at least three different sources (i.e. external hard-drive, CD and USB memory stick). To find out more about backing up, read and to take you backup practices to the level of best practice, check out,2817,1847364,00.asp.

I trust that this post provides learners and their educators with the background they need to digitize their art and designs for the online portfolio services they use. I would like to thank the independant Visual Arts Head of Department and IT curriculum integration specialist, whose curricula, 'Digitising, Presenting and Publishing', was sourced in preparing a few sections of this post.

Please let me know if you have any suggestions on improving it in the comments box, below?

Monday 16 July 2012

Why Multichoice's DSTV won't be offering a less-expensive, pay-per-view service anytime soon.

Written for South African satellite television subscribers.

My DIS'-SA-TV-A rant bemoaned the lack of a truly customized, pay-per-view service for South African television viewers. Now, here's a contrarian view as to why local satellite television subscribers who want to pay only for programming they are interested in (rather than subsidising the ridiculous lifestyles of the "Dim {Kardashians} and Dangerous {Snooki & Sitch}") should not 'hold their breath' for such a product offering from DSTV:

One of Umberto Ecco's most humorous articles 'Does the Audience have Bad Effects on Television?' (from Apocalypse Postponed) saw him confronting the belief amongst certain intellectuals that television is "bad for its audience" by showing that the inverse was true; television audiences had rejected many state-subsidised efforts aimed at promoting High Culture to them. This came to mind after a recent u-turn by Multichoice: I was pleasantly suprised and impressed that DSTV had ditched daily scheduling from their April subscriber magazine. However, it later became clear that I was in the minority. Multichoice did a subscriber poll in May and promised to return to the old format by August due to customers' negative feedback concerning this change.

This may reflect several truths about DSTV television subscribers:
  1. They resist change;
  2. They prefer to read their magazine to know exactly when shows will appear on their favourite channels (even though the reason DSTV initially gave for dropping scheduling from its magazine was their concern that it became outdated during the month);
  3. They do not want to use their electronic TV guide to get more accurate information on programming;
  4. They may find it easier to search the magazine for content they are interested in, rather than using the electronic TV guide (and, yes, IMHO its 'search for' function could definitely benefit from a Google-sque makeover);
  5. They like to know for a month-in-advance what's on television, rather than the week-in- advance that their electronic TV guide shows them;
  6. They may prefer to schedule their daily lives around television programming times rather than to set recordings and watch them later.
If these preferences apply to most of the one million viewers (a quarter of DSTV subscribers responded to the questionnaire), then this suggests to me that the bulk of their audience would not be desirous of changing to more customization, and the extra-efforts this would likely entail. The flipside of this is that DSTV can now readily cite potential audience disinterest as yet another reason for not offering a more customized pay-per-view service. That's in addition to the growth of its subscriber base and the absence of strong competition from satellite television providers in our local market:
  • At around 300 000 subscribers as of November, 2011, TopTV offers no existential threat worth evolving for;
  • If media visibility determines reality, MyTV would not to exist (the only reason I know about it is thanks to Wikipedia);
  • And Free2view "South Africa's only free to air satelite TV platform" is dead, according to Teevee with Thinus, quite contrary to what its Wikipedia entry's PR rep seems to have wrote!
While DSTV's new BoxOffice and OnDemand may point in the direction of more user choice, there seems no sound business reason why Multichoice would ever combine these into a fully customized, pay-per-view satellite television service. So, if you want to spend less on your monthly television bill; your local video store, PushPlay, online video services, an iTunes US Account with AppleTV, GoogleTV, et al. is your best bet for the foreseeable future.

If you agree, or not, let us know in the comment box below. Ta.

Saturday 14 July 2012

Guidelines for learners' Carbonmade homepage and template choices.

Written for Visual Arts and Design learners using Carbonmade and their educators.

Carbonmade gives you varied design choices for creating three distinct pages types; a 'homepage', an 'about' page and 'project folder artwork' pages. In designing with Carbonmade's online portfolio template, you will make design choices that are specific to each page and those that apply to all. This post focuses on providing suggestions for the look-and-feel of your homepage, which covers all template choices and those specific to it. These are your 'portfolio title', 'website address',  'artwork thumbnail layout', 'artwork names', 'background color' and 'footer':

What is your portfolio for?
Before making choices, its important to reflect on your reasons for using an online portfolio. Creating a quality portfolio takes a good understanding of what you want to express, how to achieve it and how you would like your audience to interact.

As a learner, here are some important reasons to create yours:
  1. To impress your adjudicators by exhibiting it as an adjunct to your analog portfolio in your matric exhibition (on a tablet or laptop computer);
  2. To showcase extra-mural and co-curricular work, the extra-effort in which might otherwise be unnoticed by your educator;
  3. To help you in your application for further education;
  4. To showcase your visual creativity and media-savvy to future employers;
  5. To show your interests in an amateur, visually creative hobby.
I suggest you write down your goal(s) and use this to motivate yourself to create an online portfolio that truly helps you achieve your aims.

N.B. If you are unsure, take the time to look at the portfolio examples of the creative types (see the left hand side menu) that interest you, and learn from their example. If a portfolio is one you would like to have one day, simply think about what its creator's goals are, then think if they could match your own...

Your online portfolio's title (and web address')
Once you know the reason(s) you are creating an online portfolio,  you should have a sound basis for choosing a name and its website address. Your online portfolio title can be based on your; genuine identity (i.e. your real name), your nickname, a pseudonym, a fake name, a corporate identity or your particular interest (i.e. subject, theme or medium). Whatever your choice, make sure it is well-aligned to your online portfolio's aims, unless your aim is to confuse your audience :) ! As a free user of Carbonmade, your website address will be your portfolio's title inserted between http:// and (i.e.

Background color

Learner EG's homepage: white background example (May, 2012)
Learner MH's homepage: black background example (May, 2012)
Carbonmade offers just two choices for a background colour; either 'black' or 'white'. In making your choice, it is useful to think of the resonance that your colour choice creates. For example, a white background can suggest a sketchpad and is well-suited for portfolios that feature many drawings. A black background suggests a screen or film negatives and is often highly appropriate for mixed-media, photographic or film portfolios.

Homepage thumbnail layout

Carbonmade offers three design choices for the layout of your homepage's artwork folder covers; either one, two or three thumbnails per row.

Learner AK's homepage: horizontal thumbnails example (November, 2010)
If you want to create a cinematic effect, then the one thumbnail option works well. It is also well- suited for artworks in landscape format. If you prefer a look that is more similar to a gallery, then the two or three thumbnails option is more appropriate.

Artwork project folder names
Please visit my tips to name your online portfolios for advice on choosing folder names, if your educator hasn't given you specific instructions.

Artwork project folder images
Learner KP's homepage: artwork folder example (May, 2012)
Your artwork folder covers can either be the first artwork that is inside them, or show an image that does not feature in the folder itself. You can choose whether you there's merit in having artwork or designs that are especially chosen as folder covers, or whether your first folder image does the job.

Copyright your online portfolio's content using your footer.
Your Carbonmade online portfolio's 'header' section is at the top of every webpage and features your online portfolio's name and the 'Work' and 'About' buttons. You can also add a footer, which will appear at the bottom of every page. I recommend that you use this space to assert copyright for your website. To do this, insert the copyright symbol © in front of the year your online portfolio was first-published and then list the copyright owner. For example: © 2010 Travis Noakes. It is also a good idea to do the same for each artwork, when you label each newly uploaded one.

I hope this advice proves helpful. Should you need more, kindly review my online portfolio posts. Comments welcome in the box below, thanks.

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