The goal of this comic is to illustrate how McCloud’s theory on space of visual arts works. In the triangle, the three dimensions are reality, language and picture plane. While it is obvious that the green snake is reality, the remaining drawings belongs to the dimension of picture plane. Language is used here to express the idea of each character. It is interesting that a curve with a dot can be viewed as a snake in cartoon and some closed shape with several circles inside are regarded as a face. Lots of details are removed from the figures to achieve this abstraction and generality. On the other hand, it is this abstraction and generality that allows involvement of the viewers into the comic. The three dimensions as a whole serve the communication between the comic and the viewers. The drawing captures the main feature and is able to express the emotions.

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Map Project draft

Title: Across Shenzhen River

Abstract: This project shows the comparison between Shenzhen and Hong Kong, which are separated by the natural border, Shenzhen River, for the past 30 years. Shenzhen is a epitome of the development of China since the later 1970s. Shenzhen used to be a fishing village before 1978 while Hong Kong, as the colony of the Great Britain, was becoming a metropolitan city at the time. The two cities are like two worlds, which is similar to the relationship between China and the outside world. Since 1978, when the Chinese economic reform occurred, Shenzhen has been selected as the special economic zone, which is characterized by market liberalization. Shenzhen is developing with a high speed and now is also a metropolitan city, where one of the two stock exchanges in mainland China locates. Now Shenzhen and Hong Kong are like sister cities that are united, especially after the establishment of Closer Economic Partnership Arrangement between mainland China and Hong Kong. People commutes between the two cities frequently. In the meantime, China and its outside world are also becoming united.

figure-shenzhenThis map shows where Shenzhen locates in China.

Shenzhen_114.09549E_22.54895NThis map shows the border (marked red) between Shenzhen (on the north of the border) and Hong Kong (on the south of the border).

Old lo-wu borderThis is the picture of Lo Wu crossing which is the major land connection between Shenzhen and Hong Kong. In Mao’s era, China is almost isolated from outside world and Lo Wu crossing is one of the few connections to outside world.


The above two pictures show Shenzhen in later 1970s and early 1980s.


This picture shows Hong Kong in 1978.


This is the picture of present Shenzhen River. While the land is unused in Hong Kong side, the buildings have extended to the river on Shenzhen side. This can also be found in the second satellite view map.

new lo wu

This is the new Lo Wu crossing. There are on average 240,000 people getting into and out of China from this crossing every day, nearly 60% of all the boarding people from and to China.shenzhen-nightview2 shenzhen-nightviewThe above two pictures show the night view of today’s Shenzhen.
Hong Kong-nigitview

This is the night view of today’s Hong Kong.

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Typography Activity

We have designed 5 logos for magazines named “fans”. Our magazines are for manga fans, kids, entertainment lovers, horrible movie fans and scientific fiction fans. Take a guess of what each logo is for.


Do you think this logo is very cute?


This logo is very relaxed and happy.


This logo is like screaming and conveys a sense of terror.


This 3D logo gives a sense of space and evokes imagination.


The figure of this logo contains the structure of Japanese character written with a brush pen.




1. Kids; 2. Entertainment; 3. Horrible movie; 4. Scientific fiction; 5. Manga.

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1. The author discusses several designs of texts including typefaces, overall shape of type and colors. Do you think their effects are general, i.e., they have the same effect on all people regardless of their education, cultural backgrounds and ethical groups?

2. Photographs are supposed to be true. However, according to the author, photos are  in general  not true. Then what are the differences between photographs and paintings for their purposes in a text?

3. If you  are a composer, do you think that obeying all the rules provided in the analysis part could make you communicate well with the audience, especially when they do not have much knowledge about how to analyze the multimedia text?

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1. Shipka mentions several times “multimodal” in the paper. What is model here? Is it the same as medium?

2. Is the linear, thesis-driven, argumentative, print-based texts replaceable given that multimedia are used?

3. Norman mentions that people have false beliefs about the causality between behaviors and machine functions when using appliances. Could this false causality be avoided by applying the design principles like visibility and mappings?

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Short Answers

What are the potentials for this view of cartography?

Maps are visual representations that are closely related to space. The map has developed its own language, which is useful for artists to explore in their works that use maps. The view that cartography as arts has artistic potentials. With the development of cartography, the map language provides artists with ready metaphors. It is not necessary for artists to obey the reality in the world like geographers. This allows lots of flexibility while they are still many cartography concepts and imagery to utilize. Artists could make the maps of memories, mental states and futuristic visions. Cartography, as a familiar object, could enhance the interaction between viewers and the artists. Similarly, artists are able to create their own maps, which reflects personal experience rather than collective truth.

How is it useful as an artistic metaphor?

As stated above, maps can provide people with ready metaphors because cartography has developed for many years and has its own language, such as boundary, territory and space.  The cartography provides artists with metaphors like seeking location and experiencing dislocation, bringing order to chaos, exploring ratios of scale and charting new terrains. Physical space is not required. We only need these metaphors to map or project our ideas with a map view.

What do such metaphors afford us? (In other words, what do we get from them? What do they allow us to do?)

Essentially maps are the visual representation of space together with other target information presented with the space. Maps can be viewed as the background of political boundary and projection. We can use the metaphors described above to display the related themes. These metaphors allow artists to shift the political and aesthetic winds, respond to social and economic globalization and find orientation inside the cultural volatility. Beyond that, we may also make use of new technology such as google map, photography or other digital techniques to gain new ideas or illustrate the old idea in new methods such as map animation.

How are space (physical and metaphorical), identity, and politics represented in the examples?

Use several illustrations in Conflict and Sorrow as examples here. For the Axis of Evil, the geographical map of the earth in dark (perhaps from google earth) is showed where the four axis of evil cities are portrayed on a red line. We are able to read the political information directly from the map. For the Greener sides of the line, a green ribbon was put  the political boundary of Israel and Western Bank. The ribbon is a realization of the virtual boundary and real life images are taken beside the boundary to show the life there. Both actual physical views and the metaphorical boundary that exists in our mind are presented. In the same time, we shall see the politics here. The life across the boundary are not so different. The boundary is more like a metaphorical thing with out the green ribbon as the realization. For the Memorial Lightscapes, the artist portrayed the “lost” place which does not exist currently due to tragic events. It is created based on memory, both individual and collective. The location is sought in the work. But it is a medium rather than a theme. What we want to show is the identity of these lost people and the memory about them.

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Introductory Post

Welcome to Zi Wang’s blog (Simplified Chinese: 王梓). I am a senior in mathematics and have minors of computer science and philosophy. Though studying engineering, I am not quite familiar with practical technologies, like sound editing and video recording. I know how to program in C, C++, Matlab, python, MySQL and LaTex. But these are programming languages rather than programs. I am very pleased to learn the editing skills from my fellows.

I have a PC and a tablet, and I am considering to get a new smartphone. This is the few course that I take outside my major and minor fields. I am very happy to meet new people.

Apart from necessary information, I am a fan of Japanese culture. One of my hobbies is to watch Japanese anime and manga. My favorite manga is Naruto. I am also practicing playing Ocarina now. I also like music. Joe Hisaishi is one of my favorite composers.


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