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How do we judge, evaluate or critique multimedia or unimedia work? These two terms will be used interchangeably here. Such evaluation must happen on two levels, at the level of individual media and at the level of the integration of the media. Use these critical perspectives to improve your own multimedia composition.
A basic level of criticism would be to examine each of the media included in the composition, as each have their own standards for the multimedia critic to consider. Consider the critical standards used in the writings of these critics, for example: music critic; film critic; video game critic; photo criticism; and book critics along with a collection of media and culture critics. For educational multimedia, another basic issue is critical. How well does the composition address educational competencies? Is there a page or place that makes it clear which competencies are being addressed?
An important and higher level of criticism must also be brought to multimedia work. What is the quality of the integration or blending of different media? Before this can be answered, another question must be considered. What criteria can we bring to such blended or integrated work? Four critical concepts drawn from different media might be considered: capacity; ensemble; contrast (the "lighting" metaphor); and text-merge.
One must consider the discussion made in the book-web comparison table in comparing salient features of the paper book and the digital book. How well does the unimedia composer distinguish their work from the paper book? To what degree are the capacities of different media and media elements employed that make cyberspace and web pages unique in comparison with the printed article or book? Most importantly, how effective are the designs that are included for reader participation through interaction and reaction? The feature of interaction is the one characteristic of the medium of cyberspace that is not found in any of the media of prior chapters.
Music critics and conductors talk about ensemble, the appropriate blending of the different music performers so that they sound as one coherent and unified voice, each member contributing in their own unique way to the overall thrust or meaning of the composition. Is every member used to best effect? In a similar way, multimedia criticism must ask if every media gives the best of the character of that media. A multimedia author will gain some understanding of how both the composer and the conductor of a musical symphony must feel as they work to balance and unify the contributions of all.
Chapter two includes reference to the three point lighting system, an important principle for visual material, whether still images, video, 2D or 3D animation, and its application to the larger concept of contrast in ideas. How well does each media help highlight or draw out important elements of what is being presented or taught?
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Chapter two also discussed the issue of text-merge, the strategy by which a unimedia composer uses the interest and motivation value of different media to draw the viewer into greater consideration of text as their study and exploration of the concept increases. In chapter two, this was discussed in the context of just image and text. Now that the thinking of all the chapters can be included, text-merger must be placed in the context of all media. That is, how does the composer use the high interest value of many media to draw the reader deeper into the composition? In being drawn deeper into the composition, larger media file sizes can be used as the reader has shown greater interest in seeking more information. Is this done? More important, as the reader becomes more deeply involved, the viewer can be presented with more dense quantities of text and invited to greater levels of their own writing through different interaction devices, such as the inclusion of a blog site in a frame inviting interaction or database or other add-on comment devices. Through reading, the viewer is led to participation. Through that participation they become an author, better developing their own voice for composing with the subject or topic under discussion and study. To what degree is this structure used? When a reader moves from reading to talking about a topic, they have taken an important intellectual milestone. The art of education is to build from this readership to an ever stronger authorship.
Most of the time, it is preferred that the viewer or reader does not feel lost. Just because frame pages can create a six ring web page circus does not mean that it should be done or is effective. It depends on the nature of the problem situation needed. If content must be communicated, then navigation should be very clear. If the setting is some form of problem solving in a puzzle, game or simulation, then less clear navigation requires more problem solving and exploration on the part of the reader.
Directing the reader or clarifying sequence can be done in different ways. Directing the reader can be done most simply with empty frames. Empty frames can be filled with color or music to move the viewer's eyes to specific areas of the screen. Notice how chapter one opens with only one frame page visible and three other frames filled with just color. These "blank" pages are easy to create by giving a web page just the needed background color. Contrast chapter one with how chapter six opens, a complex scene with text, multiple moving elements and a nest of small pictures. Now contrast this with how chapter eight opens. Note that the use of music on a plain background can be directed by the reader to either frame to enable the reader to focus on the opposite frame if needed.
Another approach is to create a consistent area as table of contents for a composition, then number elements in the column to further reinforce the concept of an ordered sequence. In this chapter on Media Integration, the elements in the left column are all numbered. In the table at the top of chapter eight in which this web page is found, the eight are put in the order read by Western culture, left to right top down, a sequence which might need numbering when used by Arabic cultures which read right to left or Asian cultures which follow an up and down sequence.
One can also reduce the frame count to just two or three. This introduction to handheld computers uses just two horizontal frames. This Look page design in the CROP site uses just three frames in a two column design. The entire right side is a single frame. If there is no need for the reader to compare one area with another then that page should be set to pop out as its own page by setting the target command to "_blank".
Weighing the use of navigational design is fundamental. Is the complexity of the design absolutely needed? If not, simplify or instruct the viewer or reader in how to simplify through controls provided in the web pages.
To revise is to step back, to reflect and to take some perspective on the work as a whole. Reflections based on these forms of criticism will lead to thoughts about revision. As it should, reflection on the work leads to a need for changes. When one has completed the basic elements of a unimedia composition, what techniques might be used to "fix" or to make fine or subtle adjustments to the overall piece?
Significant errors or problems with a given media generally require some heavy handed re-creations to make such problems go away. More often, however, there is a need for more delicate changes, and here the multimedia author has a significant advantage, the advantage of text. Where a video or use of imagery or music has fallen short or simply needs further reinforcement, it can be both time consuming and potentially expensive to make those changes. Fortunately, text can always be quickly added to shore up a point or perspective.
Multimedia composers need to examine their work from many angles and correct
and adjust as needed. Just as seeking someone else's point of view or another
set of eyes helps the development and revision of a text based essay, so with
with multimedia compositions. This is an appropriate point also to seek the help
of a campus writing center or writer's workshop for additional advice.