Author: Mark Ecob

Tutorial Notes 290126

—————

– Victoria looking forward to execution through Riso, it will converse well with guilloche patterns. Wondering about playful quality, interactivity, stamps, stickers, excited to see how that will work. How could that fit with commercial printing if it gets to that? (Victoria)

– Could this be a ‘pack’ of stamps, stickers, map, publication, as an activity for parents and kids to us together. 

– Dual narrative – kids, informal, funny, base it on how I speak to my daughter. Include stamp device or equivalent for adults facts etc. Perhaps record myself talking to my daughter as reference? A bit fun, a bit serious, digestible tone.

Tomi…

– Age range? 9-12 discussed. Refer to professional contact. Year 7, primary age.

– Text works, explains things quite nicely, particularly where it talks about acknowledging harm of Empire.

– As we’re using familiar objects, how then am I able to open up a world or thinking? Tamarind example mentioned good, stamp communicates to adults but needs simplifying. Rephrase it. Do that thing like it kids’ movies where adults’ jokes above the kids’ heads.  Text will need to have a balance between those two things, particularly the phrasing of it.

– Aesthetic will be fun and textured, engaging colours. A workbook would be a good idea, so things happening. Illustrations works well but there could be space for drawing, adding in information. 

– Not sure that this passport format works in the same way that it did initially. Because it’s so loaded, it kind of limits what you can do with it (?). There was something about the foldout that wasn’t contained. If it’s on the table and we’re engaging with it, is it something about looking at scale, magnitude. So could there be a map in there? Being able to grasp the idea of vast histories, passport feels contained to meet that. Does the book therefore accompany other things, it’s one component of it, so when you travel places this is helping you understand? Through engaging with objects, clothes etc, that passport metaphor needs to feel more connected. 

– Could it be an instruction book? A tipped-in map, sticker items plotting a journey where these things come from. 

– Passports are permission, visually there’s so much going on. Is there a way of stripping back some stuff and focussing on other things.

– Communicating to children – different types of kids and families, white English, Indian etc. Does these need to be universal? Something to research. How to that inform how I approach it.

– What to these mixed conversations look like?

– In what way can I make this universal? Fictional? 

– Play can be used to communicate complexity to the kids, to facilitate understanding without being reductive. 

– It would be good to make sure that it’s not phrased as something from the past, as it’s still going on today. When the Queen die for example?

– Play and seriousness need to interlink. References have clear position. How radical or sanitized is it going to be? Do you want to be provocative about it? Decide, and then adjust the tone accordingly.

– This could work quite well as a workshop. As you’re profiting and making, what would this look like as a workshop? Is it just parents and kids or is it wider? Additional contexts?

– Clearly articulated annotated bibliography, woven into your practice which is great.

– References given – The Black Curriculum, Lit in Colour (Penguin Books)

– Not a GAME an ACTIVITY.

—————

Action points:

 – Iterate an activity pack of sorts

– Organise research, approach a bunch of people too see who will talk to me

– Prepare a paragraph to explain the project

– Think about audience. Does this need to attempt to be universal or can it circle back to white British kids and their parents? If the way to improve attitudes adjusting the curriculum as well as something straight on.

– Uncomfortable Books? Like Uncomfortable Art Tours ref from Unit 2?

References I found:

https://www.thisisbooklove.com/shop

https://www.facebook.com/crdcFrome/?locale=en_GB

—————

THOUGHTS AFTER RISO EXPERIMENT

– Lovely light paper

– Nice imperfections

– Easy enough to execute

– 1.5 hours to make a 4 colour separation

– 1.5 hours to print with technician help

– Results are nice, but not as distressed as I would have liked. Why do I want it to be rough, is that appropriate? A question for later.

– Shelve this method for now until you have a more integrated prototype to play with. Large format printing for a map, for example?

– Consider Oakfield School, Avanti School, Frome Multicultural society. Is there something about keeping it local in terms of findings and knowledge? Is there something about keeping it local with audience as well? Lots of other sources look to change things on a grand scale. I just want to get parents and kids realizing this legacy like I did.

– Next stage should focus on primary research, but iterate format in the background. Perhaps push on the illustration as well.

Tutorial notes 220126

Current iteration of Enquiry question:

Can parents and children engage with colonial legacy together? 

——————

Points discussed:

(Victoria)

– Like the visual language, the type, composition for HP sauce. 

– Enable children to ‘spot’ surprising connections, hiding them before in Unit 2. Playful idea of spotting the detail.

– (Mark) Is there something there about playing with the book format – perforating, stamping, fingerprinting. Can I get the reader INVOLVED in the actual book itself?

– The spread designs need something fun about them, even though it’s a difficult subject. Reference of AKIDSCO books discussed – pared back, typographic design without any kids characters etc. Is that enough? It needs some kind of fun or engagement about it. 

– (Tutor) picked out some spreads from Israel/Palestine book. ‘Look you have a really big date, 1947!’. Agree that it could be more appropriate for kids. 

– (Mark) It’s the language of the books that appeals, it’s straightforward and balanced, it holds an appropriate note for the parents in the book itself. Can I take that template and add some fun to it?

Horrible Histories mentioned as TOO comedic, using toilet humour. Probably too funny.

– (Tutor) Conceptually, this is a pretty fully formed project. It’s really clear in terms of what it is you’re trying to do. You have an audience. Your query is quite clear, which is ‘how can we find a way to communicate complex colonial histories to children?’.  That’s what is driving all of this, so your next steps are less about finding a question and more about experimenting within those parameters.

– (Tutor) First direction preference. Tutor teaches brief called ‘Obliteration’ where an object is deconstructed in past and future contexts. In a children’s book format, that is a compelling direction to go in. Passport format makes more sense. There aren’t typically maps inside passports. 

– (Tutor) Format. Postcard size is slightly bigger. Nice that it’s slightly bigger and accessible. A4 is too big. Books near the cash register in a bookshop, or in a travel environment. (Sam) likes bigger, somewhere between A6 and A5, (Mark) B format paperback is an industry format, 129 x 198? Attractive to a publisher from a printing perspective. 

– Cover foiling, keep it, rounded corners. 

– Content.  Illustrations are working really, really well. The stamps added are starting to align with the passport. Continue to make them by hand and add. Is that part of the reading experience or are they printed?

– Typography. Title page is beautiful but is probably type you use to advertise the project. Straighter type is aligned enough with the vernacular to fit. Serious front page too! Lots of type going on. Could bring classic or sans to the cover? Coat of arms a good idea, leather substrate good, corner cropping from publications.

– What will the objects be? (Mark) Sanghera book as starting point. Could this all be in a temporal box? A day in the life? Yes! Maybe there should be something about the passport for the day (Tutor). A journey through the day and the objects we encounter. (Victoria) tea in the morning etc! (Mark) I like that because its direct comment on the curriculum if its based on a school day. Could this go along with their day? Reading the book at certain parts of the day (Tutor), is that where the interaction comes in? Linear narrative good. Omer kind of activity that makes them go to the next page (could this be stcikqered, or ask a question on one page and give a answer on the next).

– (Tao) Chinese achievement passport reference. Possibly ask your kids to record their day, so you can align, rather than it being me dictating. Has to be a balance between the two – broaden content, balance between author and kids content.

– Your first passport? (Tutor). Could this go back to destinations?

Action points

– Prototyping – get into the guilloche, really explore how it’s sitting, go back to its origins and its duality.

– Consider the interactivity point, questions, stamping, buy some as an experiment? Try it out on the kids?

– Consider the content, rewrite to go around a day in the kids lives. Could I consult the kids? Playtime? Invited my child to record their life in a day. Use it to influence the construction.

– Consider riso printing? Go see publications about possible format, binding, foiling, corners (PPC).

TUTORIAL NOTES 150126

Question from end of unit 2:

Can parents and children engage with colonial legacy together? 

——————

Proposed new question:

At a time of global uncertainty, can I encourage kids and parents to learn together using a print publication that asks what it means to be a global citizen?

——————

Points discussed:

– There is a space between children’s book and adult books for them both to learn together. Less about characters, colour, fantasy, animals, princesses and wizards, more about clarity of message.

– akidsco.com reference supplied, typographic, plain-talking books about difficult themes that put the children first, and have a note for grown ups at the end, along with discussion points.

– Space to challenge children’s publishing norms, one to look into with client.

– Miro board shown. Bringing in feedback form last term, conditional rules for working (new production for example), gathering references, ideas, thoughts on testing. This will be my point of reference going forward.

– Personal angle – should I keep that or step beyond that?

– Cartography – encouraging a journey through knowledge, look into this

– Testing – got an audience – local school, book group. Publisher

——————

Tutor:

– really clear project, but also full of tension.

– Imagining a publication and then applying into various colonial contexts – Cyprus, perhaps new locations? Alternative Travel books, unconventional locations. Place this under a seat on a plane, in a rich at the airport, guerrilla publishing.

– Got a good template for something, that needs rot be refined and then scaled to other contexts.

– Format of a ‘PASTPORT’ is interesting. 

– Guilloche is working, but needs refining/developing. You lose me in the stamps though, they seem drawn rather than stamped. This probably needs to be rougher, more analogue. Trees, home, carrot works, but stamps would be better if made in person (side note – this has been a theme at different stages at my work, analogue and genuine, copy fake or something made by the user?)

– Refine this one as a first step. Can’t comment on content / narrative yet. (Worth a rewrite).

– Content – some parts of it can serve parents, some can serve kids. Sticker moments for parents, stamp moments for children. Could have other things like boarding passes, make it more of an experiential publication – unwrapping, can it act differently?

– Subject – don’t burden kids with ‘your ancestors did this’. (Side note: Don’t want to add to the pile of colonial BS!, there are enough books and I don’t want this to spill into white apathy, I didn’t engage with colonialism directly for years since school, my kids were on a path to do the same)

– Something about collaboration (Irene). Is this perceived as a closed outcome? What if this could be more like a workbook, to build together, collaborative between adults and kids. STAMPING opportunities, working into it. An activity there. AIM – getting PARENTS to look into it.

——————

Poss action points

– Look at the text, break it out and see if it can move in. Simpler language. Can two narratives or strings work at the same time?

– Iterate current design, could this hold a few different strands in it – stickering, stamping. Ultimately screen print a large format map? Give it a used feel. Does it need to be in a more standard book form but with stuff coming out of it like a sheet of stickers to build knowledge as you go? There is a point about interactivity here.

– Get into screen printing lab for induction next week.

– Get into the library and start looking at Cartographic alternatives, see how that informs ideation.

– Contact local bookseller and client to be there for ongoing queries, recommendations of references.

My Symposium 2025 slide presentation available in two formats.

Due to restrictions for identity documents from video sharing sites, the full presentation video with audio is available privately here: MEcob_SymposiumSlides2_MOVIE.mov

(MAGCD2 Staff can view automatically, if you’re a student please email m.ecob0820231@arts.ac.uk for access)

An interactive pdf without audio, but with a transcript and external links to associated media is available here:

TUTORIAL 061125

Latest iteration presented, 2 options.

Draft slide presentation presented

Triangulating 3 final writing, typesetting presented

– Tutor: Latest iteration makes so much more sense, connects with the target audience, feels exciting for adults but also for kids. Enjoy games, perfect piece to have at an airport and take with them, or be placed on a bookshelf and just found. Skyline works well.

– Add yellow cover to more colorful iteration over red biased iteration. Covers remain unresolved, but ok for now.

– Inside cover – yes to the inscription, but add guilloche and make it bigger.

– Specificity discussed – could I go further into the everyday side of things, what we eat, where we go, rather than being quite wide as a lens. Something to ponder.

– Cut the video of Horrible Histories, but it does show how Kidd are spoken to.

– Much more focus in the printed outcome.

PRESENTATION SLIDES

– More focus needed? Slightly concerned about time, currently over 8 minutes. Tutor doesn’t find it too much.

– Slide 18, quote page – use what is highlighted only, instead of the whole text.

– Lose slide 8, bit weird how its written. My findings are less about MY inherent bias, more about discovery and kids context.

– Slide 7 – too long, condense that too

– Slides 11 and 12 (Issuu and permissions), important to have to don’t remove, but move them to after passport and glossary, review later!

– Tutor likes idea the idea of glossary at the beginning.

– KESHAVARZ reference – jump into this, or is it needed? KEEP IT. But I would just say a few lines about it, drop it I with other references, after slide 9 (badges). The references should sit together

– Sam – the ExhibItionist feels like a speed hump. TuTor – condense and highlight, the symposium should be more about

– One with kids, but difficult to understand, lose it, BUT mention kids view on slide 19 (curriculum). Beginning and end ok with kids.

– Last slide, projections – important so resolve this, BETTER ORGANISED. Maybe some some photography. Focus the projection TEST and KIDS BOOK SERIES, how would they sit on a shelf? Go into Hunting Raven (local bookshop)? More like independent zine publishing

– WRITING SAMPLE – great, but do a gradual mix of the two faces over the document and find a better bio of typeface origins. Add a set of figures/images for Appendices.

EXTRA NOTES:

– FINAL SUMMATIVE SLIDES SUBMISSION – flat pdf with notes, but also a video with audio alongside for review.

– Make a script of it so you don’t gave to read off the slides!

– Bring a USB backup

– If there is something to read, let the audience read it and signpost them to it.

– More studio work, less about the words

Tutorial notes 301025

– BOOK EXAMPLES – expand them out, a couple of slides on the HOW of it – survey, for example, a product, a person, a joke. Emphasise findings on tone of voice, ask the audience, how do I explore that fine line between adult and kids working together on a book? Could it be that it’s interactive in some way?

– Unfolding video of the passport, then all of it own one slide, then ZOOM IN on one section to show mix of facts and fun. (Remember to buy black card as background for this).

– Make it feel ALIVE with the opening of the passport, use AMPLIFICATION.

– INCLUDE resistance examples – Issuu, correspondence with printer. Gives context, the politics of iconography.

– Final iteration of passport – too much going on in terms of the mix of styles, illustrate into it, use guilloche and stamps as basis, then draw over the top, ask the kids to work into it too.

– Make styling of latest iteration more guilloche-based, tracing it with pencil. The green line in Cyprus device.

– Could there be a drawn line connecting it all? Like the final version?

– Overall look to go into more depth on the slides, that are just notes at the moment. Give it detail, consider them in context with the rest.

e.g. go into the books slides more, examples of one of voice, pick out stuf you find interesting, and say “never from a specifically parent and child POV”

– Finesse video and audio elements in there.

– Use kids audio interview in there ‘THANK YOU’ at the end from Ella, for example. Or Do you know what Empire is? “No”.

– Watch out for big claims! Do a check, give samples if you need to expand on something

– “THROUGH TRIANGULATION I REALISED THAT”…  OR “FOUND MY COORDINATES” Emphasise tension between Exhibitionist reference and my project, situate it properly in wider discourse

– How do I stand out? Think about flow, entertain as well as inform

– Go simple, treat the audience as neutral, don’t transfer any assumptions out there. Do they know what colonialism is?

– What are my hopes and desires on how this project will evolve going forward? Interviews with parents, children’s publishers

– What about accessibility? Is that to be considered later in unit 3?

ESSAY

– Zack – audience. Need to evaluate the kids visual language.

– Lots pf testing needed, mention that in the writing.

– Acknowledge internet brainwashing of British colonialism, what we’ve been taught – ‘four centuries of being told that you are ‘superior’ to brown and Black people ‘leave their stain’ Salman Rushdie, quoted p155 Stolen History.

– Exploration: Media and Methods section – look to expand on researching the iconography, and how I interpret that going forward 

– Questions at the end – remove the 2nd one. remove the 2nd one: – ‘Would my kids benefit from a deeper understanding of colonialism and how it is reflected in their everyday lives?’ USE AN EXAMPLE OF ELLA HERE, contrast her statement of ‘No I don’t know what it is’. ti: And ‘I’m learning about the slave triangle at school’. There’s a gap there.

– Next step – first stage, loads of testing. Anything to do with kids requires that. Start with white parents, change it to teacher or publisher or black/brown British families to get their perspective. ETHICS. Think about broader audience testing as a CONTROL to the experiment, professional one. They might say NO this is a bad idea! Pastoral care contact (Sarah)

Current Triangulating 3 written work form…

ETHICS AND AGENCY 1 281025

– Original written from the point of a freelancer

– Interesting how its changed over time

 Reflecting on Rick Poynor’s brief history of the First Things First manifesto and its predecessors, discuss: 

What are the most urgent ethical issues facing graphic designers now?

– AI – fastest changing factor right now. Why? Inspo sources, how we think, basic skills, degradation of skills, moral question, betraying something but I do see the value. Linked to climate change – using it hurst the planet

– Environment/climate change

– Wealth inequality – as the rich get richer, do we need to do more commercial work?

– Trends – less originality? Following trends has no point, or does it?

– Inspiration comes mainly from more digital spaces – makes designers anxious or affected emotionally, TENDENCY TO WORK DIGITALLY and find start online rather than offline.

– Addicted to screens

What would you add to a FTF manifesto for 2025? 

– Individual agency to work offline

– Self care and a metal health aspect, it doesn’t talk about looking inwards

– No stealing

Selecting one of these ethical issues, discuss: 

How do the current conditions of the graphic design industry enable or inhibit your ability to address this issue through your practice? “Individual agency to work offline”

– It fails, we’re always online and need a structure for offline

– Human connection – working with people, mentorship professionally in an age of remote working

– Balance and discipline personally, remembering to mix on and offline

– Jonathan Crary, 24-7, Somerset house reference

– https://thedisconnect.co magazine, you can only access it with wifi off

– “Legacy media” – Ben’s definition for the good old days of the Internet

– Survey, interview, co-design – relevant to my project now? I wonder if there is a set of principals I can define for my next stage. 

– Forensic Architecture mentioned, project, Grenfell Tower.

– Book of the Homeless

– Soldiers, Wolfgang Tillmans

– Audience – Waste Age exhibition design, news ways of doing exhibition graphics that is more sustainable. 

ETHICAL CONTEXT – BENEFITS

– Environmental – Is a book the right format? Did they reduce costs by considering colour, printing, format? 

Would it be better as a throwaway format or is the printing, the permanence the idea, to claim space.

THEY COULD HAVE IGNORED ENVIRONMENTAL CONCERNS IN FAVOUR OF THE SOCIAL IMPACT

– SOCIAL AND RACIAL. Micro, really goes into detail. You want to meet the people. Does it need to be macro or not? See a wider view?  The specificity is the beauty. Where did the supply chain end and begin? Lack of Bias – you can make up your own mind as wider contexts are not mentioned. Platforming happened, university degrees, Workshops, Education aspect.

– DESIGN AND LANGUAGE.  Therapeutic ends. 

Is there a way to disseminate or franchise this?

‘The workshops, as well as the printing of the book, was entirely crowdfunded. All profits from the sale of the publication will ultimately be shared between the authors and fed back into The Accumulate Art School for the Homeless.’

There is an assumption that people want to get off the street! Some don’t.

– ACADEMIC. The curation of it is minimal.

———————

GROUP EXERCISE

– Could it be a group of homeless artists?

– Make it global, benefit more people in more places

– Syndicate it – get it out there.

– Could it be a pack?

OPENING NIGHT

– EMPTY PRINTED BOOK IS SEN TOUT INTO TEH HOMELSEE COMMUNICTY 

– NETWORK  OF CHARITIES

– ARCHIVE

– THE PUBLIC WOULD COME IN, to really connect with their stories.

– No money would change hands, instead advice, connection, resources, a place to stay.

‘The Homelessness Network is a connected group of creatives who have nowhere to call home. Sketchbooks were sent out to a set of locations globally, to be filled in and shared by the local homeless community. A few pages, a poem, a chapter, whatever the contribution it has been included in these once-empty sketchbooks books to make one unfiltered narrative of lived homeless experience now. Tonight, these books are being exhibited in community spaces around the world. The contributors will all be present to share their stories and connect with you and each other out of mutual respect. 

No money has changed hands in the homeless network, instead contributors and readers can share advice, resources or a roof for the night fort the benefit of everyone.’

(Anna did the design, I wrote the blurb, we call discussed the concept)

Tutorial notes 231025

(Showed latest essay printout, laid up into 8pp A4 booklet)

– Good comments on text and how it has evolved

– Discussed detail of The Exhibitionist’s podcast

– Global versus personal perspective valuable, that’s where the question is

– These subject have been tacked from a global perspective, so much so they are not relatable.

– Generational perspective discussed, questioning what you’re taught and take in subliminally

– How can something like this allow you to learn and grow TOGETHER? Is there a moment when you can learn WITH your parents?

– That could help us talk about the subject more

– Hierarchy at play, confrontation.

– Can the generational gap get narrower if you DECIDE to learn and do it together?

– Interview with kids mentioned, need to reflect on it properly

– My son said ‘I don’t care whether Henry VII farted or whatever, I wanna hear about both sides of the argument’.

– My kids either don’t care or don’t understand, so there is something there. 

– Tone of that needs to be, like Proctor reference, not adversarial, open, true.

– Tutor – kids live the in the present, but how does a history affect what they’re doing NOW. That ay be how to get them to engage. (Blend into narrative in next iteration).

– BUT from an educational perspective, UK gov has given responsibilty to local level on teaching colonialism/empire. My research says it is lacking and still under discussion. 

– So, research on kids books is necessary – looked at post conflict kids books in Germany, Japan, handling sensitive subjects. 

– “I don’t give a shit” factor is still there, so if this is to be a kids book, it needs 30% instructional, 70% educational. Horrible Histories mentioned.  Dutiful acknowledgment needed.

– Soft, approachable, relatable, include dates, facts. 

– Current iteration of book discussed, imitation cover, intention to do an illustration. Hide in airport, leave on floor, bookshelf

– Foiling cover this afternoon with Helen from Letterpress

– Should this be under the radar pretending to be a passport or brightly colored and very much say THIS IS A BOOK.

– Faux passport better right now for this.

– Projecting forward, consider multi-edition character-led series of countries.

– Edges discussed, spine brought in, folding, trimming

– Varying colours and bindings, concertina discussed.

– Interview discussed again, described narrative form of poss children books, their perceptions. Guided them through the places we’d been without pushing a dictatorial narrative.

– Continuing landscape across the frames, topography, hints of site specific thing, character led ‘Joe and Ella’. Introduce games. Tutor – worried about audience, they need to owing and connect with the story. Can there be places for them to write in there? Games and adults, something for a family to take on a trip?

(CONSIDER HOW IT MIGHT WORK)

– Be realistic about what’s achievable before sinposium

– Symposium – how can I get the audience to relate to this story? Charlie and Lola mentioned.

– This going towards narrative story, with little bits like a crossword or a puzzle or an area to write

– Consider age that the book would be aimed at?

– 20 Snippets exercise – completed, laid out points of Unit 2 and have started to rough out a skeleton.

NEXT STEPS

– Foiling this afternoon of cover

– Experiment with the internals, some kind of experimentation with narrative form, print it

– Get into the next piece of writing

– Skeleton 5k final summative writing

TUTORIAL NOTES 161025

Student group feedback:

– SIMPLE, straightforward contrast between my work and reference

– Laid out very simply and clearly

– My reference has more direct approach versus more subtle approach of family

– Answers the brief directly

– More context, Zack didn’t understand immediately, explain some elements more clearly – the history etc

– More context/depth, for example the stickers need contextualising, make no assumptions in the audience

– Point out difference of spirit between both of the projects, deconstruct spirit for reference, whilst mine is in tension by being softer like a father figure, gentle in nature, hard v soft in texture. “The black doesn’t always have black in it, and the white doesn’t always have white in it”.

– Balance needs to be struck, colonialisms brought good things too!

– Too easy to whitewash?

– More context to legislative angle, parliamentary debate, the curriculum side if I’m going into my kids. Needs to be fairly general, just a couple of examples.

Tutor feedback:

– Target audiences –  definite it more, talking about it from an early age. Reference is targeting adults only, I’m looking to target both in my potential output

– What does it mean to talk about these things from an early age? This will make a big difference to the content and tone.  Adult preconceptions – you either hate or love by that point, but kids are much more malleable.

(**SIDE NOTE – Tone of kids interview could just be an exploration, don’t lead them, how will that reflect upon MY position as an adult. versus theirs as kids**)

(**DO I NEED TO INTERVIEW KIDS FIRST BEFORE COMPLETING THE AMENDED WRITING – YES**)

– How the kids are taught their point of view

– In my project, I’m doing something that can be shared, reprinted, distributed. Reference is static in that way, specifically the tours. You take the tour, you leave. Its done.

– Ideally make the publication digestible, without assumptions, this piece needs to be neutral or at least true to 

– Expand mediums paragraph, more detail please.

– ‘Where are the missing pieces daddy?’ – that’s rich, explained on it once done interview.

– Pride, object to be projected. Is there something to be expanded on here? WHY? The publication will be reproduced hopefully.

(Look over the interview, this looking like the kids book after all)

– This will be a PROJECTION – put in more detail about what, when, how it could be…

– Look over the notes! Difference between autistics for kids and adults?