Week 16 Day 2 - Wednesday, May 1 - Homework

Final Critique scheduled for Monday, May 6, 10:00am-12:00pm*

1. Title Sequence Project Files due on USB stick at 9:50am.

Place all files in a folder called "YourName_TitleSeq", which includes:

• Process Files Folder (mind map, brainstorm sketches, notes, etc as PDF/JPG)
• Design Files Folder (Visual Boards saved as both native PSD and as JPG)
• Final Animatic (rough animation in quicktime H.264 format)
  

*If you have a final exam/review that conflicts during this time, you must talk to me in advance

2. Any revisions made to previous projects or exercises also due on USB stick (in folder labeled "YourName_RevisedWork") at 9:50am on Monday, May 6.

3. Complete course evaluations for ART380 (Digital Imaging) by end of today's class

https://vandalweb.uidaho.edu/PROD/twbkwbis.P_WWWLogin?ret_code=I.

Week 16 Day 1 - Monday, April 29 - Homework

1. Fill out course evaluations for ART380 by Sunday, May 5.

https://vandalweb.uidaho.edu/PROD/twbkwbis.P_WWWLogin?ret_code=I. 

2. Revise Visual Boards and create rough animatic for Title Sequence Project. 

 

Final project critique will take place Monday, May 6, 10:00am-12:00pm. 

 

Any revisions made to previous projects or exercises also due Monday, May 6, 10:00am-12:00pm.

Week 15 Day 1 - Monday, April 22 - Homework

1. Fill out course evaluations for ART380 by Sunday, May 5.

https://vandalweb.uidaho.edu/PROD/twbkwbis.P_WWWLogin?ret_code=I. 

2. Work on Visual Boards for Title Sequence Project. Midpoint crits will take place Monday, April 29, 8:30am. Must see all frames that include imagery and cast/crew credits at this time.

Week 14 Day 2 - Wednesday April 17, Homework

1. Fill out course evaluations for ART380 by Sunday, May 5.

https://vandalweb.uidaho.edu/PROD/twbkwbis.P_WWWLogin?ret_code=I. 

2. Work on Visual Boards for Title Sequence Project. Midpoint crits will take place Monday, April 29, 8:30am. Must see all frames that include imagery and cast/crew credits at this time. Visual boards for at least 2 cast/crew names due for review by next class.

Celebrate Earth Day with Lewis Clark Recyclers on April 18th from 4-7pm on Capital Street in Beautiful Downtown Lewiston! For more information, visit them on Facebook.

Week 13 Day 1 - Monday April 8 - Homework

1. Choose film (from pre-approved list) due Wednesday, April 10, 8:30am and watch film at least once through by next Monday, April 15.

As part of the title sequence process, you will be expected to watch, analyze and research the film. Study the characters, plot, metaphors and conceptual themes. Go beyond the literal interpretation of the film. Think analytically, metaphorically, conceptually and abstractly. Project should not simply visualize the literal plot summary or simple character representations.

It is recommended you research and analyze existing title sequence pieces (as well
as other motion design and graphic design pieces) to get inspiration. You can learn a lot simply through observation and analysis. Remember to take in consideration typefaces, visual hierarchy, positioning/alignment, composition, color and fundamental design principles while developing your design boards.

Title Sequence Resources + Visual Boards

Visual boards are well developed and fully designed storyboards that map out all content and aesthetic choices that will be animated in a motion design segment. Motion designers  often create visual boards to pitch ideas and concepts to clients before projects have been approved, planned, and developed.

Jarratt Moody detailed Mastercard commercial board:


K. Lee detailed HGTV Dream Home Intro pitch board:


K. Lee detailed Comedy Central Roast Intro pitch board:

Uncredited : Graphic Design + Opening Titles in Movies by Gemma Solana 

Forget the Film, Watch the Titles

Art of the Title

Decredit: The Best Movie Titles

Deubal

Titles by Saul Bass

MK12

Motionographer

Digital Kitchen

Imaginary Forces

Prologue

Garson Yu
Smith + Lee Studios

Mind.Memory.Dream (Title Sequence Project)

Description:
Create visual (design) boards and simple animatics to be used in a title sequence for a film which explores themes related to dream, memory and/or the mind (see pre-approved list).

Objective: 
+ To apply digital imaging techniques to communicate appropriate concepts and ideas
+ To reinforce design principles that support visual choices in creative problem solving solutions
+ Develop project that has a strong concept and uses process techniques to strengthen visual communication

Specifications: 
Size: 1280 x 720 pixels (HDV 720p resolution)

Media:
+ Must use photographs in some form (can create a composite, photomontage, collage, etc)
+ You are allowed to use a variety of different mediums in your visual boards (drawing, illustrations, symbols, textures)
+ Title Sequence (visual boards) must include credits for director, writer, producers, cinematographer, editor, set decoration, art direction, and at least 5 actors (use imdb.com for this information)

 Technical: 
+ Use Photoshop to prep, adjust and manipulate images
+ Use Illustrator or InDesign for layout of visual boards
+ Use Photoshop Animation, InDesign Animation, or other animation software to create animatic of title sequence
+ All imagery used in design should respect copyright laws

Timeline + Deadlines: 
Conceptual Brainstorming: 

1. Choose film (from pre-approved list) due Wednesday, April 10, 8:30am. 
2. Storyboard sketches for all title screens due Monday, April 15, 8:30am. 

Midpoint Group Crit: Present visual boards in group critique on Monday, April 29, 8:30am.

Final Critique: Animatic, final boards and all process work due Monday, May 6, 9:45am-12:00pm. 

Grading criteria (project accounts for 10% of course grade)
Communication & Aesthetics—50%
Innovation—25%
Technical Skill—25%

Pre-Approved Films

• A Clockwork Orange (dir. Stanley Kubrick)
• Donnie Darko (dir. Richard Kelly)
• Eternal Sunshine of a Spotless Mind (dir. Michel Gondry)
• eXistenZ (dir. David Cronenberg)
• Jacob's Ladder (dir. Adrian Lyne)
• Open Your Eyes (dir. Alejandro Amenábar)
• Pi (dir. Darren Aronofsky)
• Requiem for a Dream (dir. Darren Aronofsky)
• The Comedy of Innocence (dir.  Raúl Ruiz)
• Three Lives and Only One Death  (dir.  Raúl Ruiz)
• The Machinist (dir. Brad Anderson)
• Videodrome (dir. David Cronenberg)
• Waking Life (dir.Richard Linklater)

Week 12 Day 1 - Monday, April 1 - Homework

Earth Day Poster due for Final Crit next class, Wednesday, April 3

Submit the following at 8:30 next class (submitting work late will result in grade drop)

1. Final Print (2' x 3')
2. USB Flash Drive with following files

• Process Folder: Mindmap, Sketches
• Design Folder: PSD/Illustrator/InDesign Files with appropriate linked media
• PDF Folder: Midpoint Crit Design PDF and Final Design PDF

3. CD with 

• Final Design PDF (formated as 24” by 36” at 300 dpi)
• CD labeled with your name, email, phone number and title of the piece

Week 11 Day 2 - Wednesday, March 27 - Homework

1. Continue to work on Earth Day poster. Final critique will take place next Wednesday, April 3, 8am. 

2. There will be another Painting Faculty candidate presentation by Nishiki Tayui, scheduled for today Monday, April 1 in the TLC 47 at 10:30am.

Week 11 Day 1 - Monday, March 25 - Homework

1. Continue to work on Earth Day poster. Final critique will take place next Wednesday, April 3, 8am.

2. There will be another Painting Faculty candidate presentation by Mark Bradley Shoup, scheduled for today Monday, March 25 in the TLC 47 at 10:30am.

AIGA Design Workshop With Shogo Ota - this Thursday

In addition to the Inspiring Design Futures Symposium that is taking place this week, the AIGA Student Chapter on campus has planned a design workshop session with CAA alum, Shogo Ota, on Thursday, March 21, 3-5pm in AAS Rm 104.

To check out some of Shogo's design work check out his company Tireman Studio.

CAA Computer Studio Print Lab Information

CAA Computer Studio Print Lab Information

Week 10 Day 1 - Monday, March 18 Homework

1. Print out poster by end of this week for group critiques scheduled for next Monday, March 25. Be sure to check project specifications on blog or dropbox to meet minimum project requirements.

2. Instead of meeting in our usual classroom space on Wednesday (March 20), we will meet at the Inspiring Design Futures symposium morning sessions.

 8:30am - Welcoming event in the Student Union Building (SUB Ballroom)

You will also be required to attend the Career Building 9:00-10:15am session in the SUB Ballroom.

Be sure to get a passport name badge and get stamped for attending this morning session. Bring stamped passport to class next week, as this will count for Wednesday class attendance.

 

Week 9 Day 1 - Monday, March 4 - Homework

1. Continue to work on design of earth day poster. Acquire or photograph appropriate imagery to use in  poster. Be sure overall visual theme supports on of four approved environmental issues (Recycling e-waste, stop oil drilling in Yasuni National Park, planting trees to support The Canopy Project, “Reduce, Reuse, Recycle”). Midpoint designs due for group critique in three weeks, Monday, March 25.

Week 8 Day 2 - Wednesday, Feb 27 - Homework

1. Choose your specific research topic (Recycling e-waste, stop oil drilling in Yasuni National Park, planting trees to support The Canopy Project, “Reduce, Reuse, Recycle”) to use in your Project 3: Earth Day Poster. Create 5 different and distinct layout sketches that considers the type of imagery, typography and path layout you hope to explore in your initial design.

PechaKucha Students Speak Edition @ Pritchard Thursday, Feb 28, 8:20pm

View high resolution 

List of vol. 4 Presenters:

Kathleen Burns: What, when, where, how, who? Public Art and Community

Hayman Wong:  To Live in a Cage

Bryce Blankenship: My Shortened Importance of Philosophy

Ellen Williams: Deep Sea: Shipwrecked

Miguel Elgueda: Living Communities:  Bringing live back into Communities

Sway Harner [:Moment of Thought:]

Tarin Leach: Art in Toms

Katelyn Dillon: The Underground:Recreating the Illicit

Avery Worrell: Enlisting in the Fun Brigade

Project 3: Earth Day Poster

Description:

Design and submit a poster for the Lewis Clark Recyclers’ 8th Annual Earth Day Celebration, incorporating digital imagery and typography in a meaningful way to communicate the theme of reducing carbon emissions or supporting environmental sustainability. Your conceptual theme must focus on one of the following Earth Day campaigns (Recycling e-waste, stop oil drilling in Yasuni National Park, planting trees to support The Canopy Project, “Reduce, Reuse, Recycle”).

Objective:

+ To apply digital imaging techniques to communicate a message of reducing carbon emissions or supporting sustainability

+ To reinforce design principles that support visual choices in creative problem solving solutions

+ To explore the visual relationship created between the use of image and type

Specifications:

Size: 24" x 36" white paper, at least 150 dpi (resolution)

Media: 

+ Must use photographs in some form. Create a composite, photomontage, collage. 

+ You are allowed to use a varietyof different mediums in your final poster (drawing, illustrations, symbols, textures)

+ Final output must be a digital file that can be printed. 

+ Required text to include: “Celebrate Earth Day April 22, 2013”**

Technical:

+ Use Photoshop to prep, adjust and manipulate images

+ Use Illustrator or InDesign for layout of Poster design

+ All imagery used in your poster design should respect copyright laws

Timeline + Deadlines:

Conceptual Brainstorming:  Choose campaign theme, and sketch out 5 different/distinct layout ideas due Monday, March 4, 8:30am.

Midpoint Group Crit: Present digital file (PDF) and rough print of poster in assigned group critique on Monday, March 25, 8:30am.

Final Critique: Printed design and all process work (brainstorm mind map, sketches, initial design, midpoint design and final design as PDFs on USB stick) due Wednesday, April 3, 8:30am.

Grading criteria (project 3 accounts for 10% of course grade)

Communication & Aesthetics—50%

Innovation—25%

Technical Skill—25%

Informational Resources
Lewis Clark Recyclers Inc
Earth Day Network
Save Yasuni National Park
The Canopy Project
Recycling E-Waste
Reduce, Reuse, Recycle 

Week 8 Day 1 -Monday, Feb 25- Homework

1. Next project will be an Earth Day Poster. Using visual imagery in conjunction with provided text copy, you will be spending the next 4 weeks creating a Earth Day Poster for the Annual Earth Day celebration, Monday, April 22, 2013, sponsored by Lewis Clark Recyclers. Poster theme should focus on the either the promotion, education and/or celebration efforts to increase awareness and appreciation of the earth's natural environment.

Begin researching and brainstorming concepts for Project: Earth Day Poster.

Create a mind map and paragraph proposal for possible concepts to explore (environmental issues (local, national, global context), efforts to preserve earth's resources, etc) in this poster and how you will incorporate visual imagery in someway. Mind maps must be submitted for review next class, Wednesday, Feb 27, 8:30am.

Resources to check out
Earth Day Network
Lewis Clark Recyclers


2. Pecha Kucha Night Moscow will be hosting an event this Thursday, Feb 28 at the Pritchard Gallery. doors open at 8:00pm, presentations start a 8:20pm

Check out PKN Moscow's website for more details

Call for Submissions Pecha Kucha Night Moscow

The Prichard Art Gallery will be hosting PechaKucha Night Moscow vol. 4. Thursday, February 28th.  Proposal submissions for presenters (either solo, pairs, or groups) are now being excepted at uicaaexperience@gmail.com.  Proposals are still being accepted.  For more information on this call, please visit UI Art + Design PechaKucha Night's informational page

*PechaKucha Night – devised and shared by Klein Dytham architecture

Week 6 Day 2 (Wed, Feb 13) - Homework

Description:

Select an artist/designer from the approved list, below. You must conduct research

regarding the artist/designer, his/her background, training, and body of work that has

influenced and impacted the way imagery is used in Art & Design.

You should document various accomplishments and achievements related to your

artist/designer’s chosen field and how it relates to photography. Please also select one

significant project completed by the artist/designer to further examine in a detailed case

study. The case study should analyze the chosen project from beginning to end (research,

process, development, completion). Research should be assembled into a final presentation

created in InDesign (template to be provided) and be saved as a PDF.

Upload research files to Research Submission Folder on the dropbox by 8:30am Wednesday, Feb 20.

1. Bibliography for informational resources (PDF file) --see word doc template
2. Digital presentation (PDF file) --see InDesign template, all images should be cited appropriately

Final presentations are scheduled for Wednesday, February 20th, 2013. Oral presentations

should be roughly 10 minutes in duration.

Wikipedia is not a reliable source of research and should not be used. You will be asked to

cite all sources, so be sure to keep track of all publishing details related to books, articles,

journals used in your research.

Objectives:

• Discuss the creative process of an artist/designer

• Explain the impact and influence that image has on Art & Design

• Display oral and written communication skills

• Prepare a formal, oral and visual presentation

Grading Criteria:

+ Completion of all points in the study

+ Organization of Materials Presented

+ Depth of Research

+ Quality and Design of Oral/Visual Presentation

Artists/Designers:

Ansel Adams – Victoria Lock
Richard Avedon – Ellen Williams
Robert Brownjohn – Ben Ferry
Kyle Cooper– Kurt Abo
April Greiman – Christian Sanchez
David Hockney – Kate Murdoch
Yutaka Inagawa – Jack Hsu
Balthazar Korab – Justin Quinn
Herbert Matter – Filip Fichtel
Laszlo Moholy-Nagy – Michael Rosgen
Pentagram (Paula Scher) – Lindzey Grasmick
Man Ray – Omni Francetich
Grete Stern – Leon Humpherys
Ezra Stoller – Ale Lozano
Jeff Wall – Tarin Leach
Danny Yount – Jordan Amoth

Creative Musings Week 6

"Out Of Place” Photomontage by Robert Rickhoff 

Image manipulations by German artist, Robert Rickhoff, that question that logical relationships between ordinary and mundane objects. See more recent work on Robert Rickhoff's blog.

{via enpundit.com}

Segments from PBS ART 21

How do artists respond to a world in flux? In what ways do artists act as agents of change, and what kinds of aesthetic choices do they make to express it? This episode features artists who bear witness, through their work, to transformation—cultural, material, and aesthetic—and actively engage communities as collaborators and subjects

  El Anatsui in ART21: "Change"

Watch Change on PBS. See more from ART:21.

Catherine Opie in ART21:"Change"

Watch Change on PBS. See more from ART:21.

Cindy Sherman in ART21:"Transformation"

Watch Transformation on PBS. See more from ART:21. “I didn’t want to make what looked like art,” Cindy Sherman says about her earliest works, explaining that “film has always kind of been more influential to me than the art world.” The segment surveys thirty years of untitled works in which the artist photographs herself in various scenes and guises, grouped into informally-named series such as fairy tales, centerfolds, history portraits, Hollywood/Hampton types, and clowns. Sherman used a digital camera and green screen for her most recent series of society portraits, modifying each image’s “background with the same kind of license that a painter would take.” Sorting through test shots at the computer, Sherman leads the viewer through her iterative process. The segment later follows her to a thrift store where, upon finding several “wacky pants” she wonders if this shopping trip “might be inspiring a whole new series.”

Photomontage: "Change" Exercise

Week 6 (Monday/Wednesday, Feb 11+ 13)
You must use Photoshop, and the Photomerge tool to composite your photomontage.

Experiment with at least 3 different photomerge blend settings (reposition, collage, perspective, spherical, cylindrical) as well as appropriate adjustment layers to improve contrast and tone. Save each exploration three separate PSD files.

Incorporate other imagery into your composite that may further support your narrative of "change". Be sure to use appropriate techniques to create a seamless implementation.

Be sure your visual scene supports at least one central charasteristic of an effective montage 1) create a single composition, giving the illusion that the elements belonged together originally, or 2) to allow each element to retain its separate identity as a means of adding meaning to the overall composition.

Convert your best photomontage exploration into a TIFF file (save in Photomontage Ex folder on the dropbox) for class review next class (Wednesday, Feb 13).

New books in library: Image, Art & Design

Check out some of the newly acquired books in the UI Library listed in the link below. Many of them feature a variety of artist and designers included in the class research presentation project.

https://uidaho.worldcat.org/profiles/khenrich/lists/3087348. 

including books on:
Herbert Matter
Will Burtin
Pentagram
Hannah Hoch
Kenneth Snelson
Gregory Crewdson
Jeff Wall
Balthazar Korab
April Greiman
Ezra Stoller
Julius Shulman

Photomontage: "Change" Exercise

Week 5 (Wednesday Feb 6)
Create a photomontage that explores the concept of "change".  Pick an indoor or outdoor scene that deals with "change" in some visual and/or conceptual way.

Using a digital camera, find at least 3 interesting scenes that signify the theme of "change. It is recommended you take at least 30 digital images per scene. You will be using Photoshop to composite together multiple images into a single composition in your final photomontage.

Use Photoshop this weekend to put together at least one of your chosen scenes (save as a PSD file). Bring your digital photos and one assembled scene (PSD) to next class, Monday, Feb 11, for review.

Recommendations when photographing your scene:
1) Stay in one spot when photographing (focus on a single viewpoint)
2) Take lots of overlapping shots, to help reduce the amount of gaps in the final composite. Images should overlap by approximately 40%.
3) Use manual settings on your digital camera when possible (focal length, exposure, white balance, etc)

Week 6 (Monday/Wednesday, Feb 11+ 13)
You must use Photoshop, and the Photomerge tool to composite your photomontage.

Experiment with at least 3 different photomerge blend settings (reposition, collage, perspective, spherical, cylindrical) as well as appropriate adjustment layers to improve contrast and tone.

Save each exploration three separate PSD files. Convert your three photomontage explorations (that explores 3 different photomerge blending settings) into TIFF files for review next class (Wednesday, Feb 13).



Photomerge Tips
Photomerge is a technique in Photoshop used combine several photographs into one continous image

To Access the Photomerge Tool
In Photoshop: File > Automate > Photomerge
In Bridge: Select specific images you want to use, Tools>Photoshop>Photomerge

Photomerge Settings

Week 5 Day 1 (Monday, Feb 4) - Homework

1. Work on Research Project. Final presentations for research project due in two weeks (Wednesday, Feb 20, 2013, 8:30am). Be sure to cite all resources (image and information in provided word doc and InDesign templates.

  2. Coordinate with your group (assigned in class today) for at least one member to bring in a digital camera to next class session (point and shoot or DSLR). Will be covering panoramas and photo merge concepts.

Week 4 Day 1 + 2 (Jan 28 - Jan 30) Homework

Work on Part 2 of Pairing Project

1) Revise order of pairs. There should be a logical explanation behind the sequencing of your visual pairs in your final booklet. Formal relationship or narrative message should transition each pair forward.

2) Revise formal and conceptual relationships between each image pair. Content and visual interaction between each image grouping should enhance the original interpretation of individual images. Fix any visual issues/inconsistencies with image pairings. Apply Photoshop correction methods to clean up exposure, tone, color, proportion, and angle/perspective, placement/orientation. 

3) Not all images need to be composited into a single image, but the viewer should interpret each pair as a cohesive and collective group, and not individual ideas.

Additional specifications:

Using InDesign or Illustrator, you must layout your five visual pairs into a 12 page booklet. 

Individual page size should be 8.5"x11" (portrait/vertical or landscape/horizontal in orientation). 

You have the option of using black & white or color images (or combination of both). 

Page 1 (front cover) should include at least a title and your name. 

Page 2-3 include your first visual "pair" (images should be consistent in size and symmetrically placed) Page 4-5 include your second visual "pair" (images should be consistent in size and symmetrically placed) 

Page 6-7 include your third visual "pair" (images should be consistent in size and symmetrically placed) Page 8-9 include your fourth visual "pair" (images should be consistent in size and symmetrically placed) 

Page 10-11 include your fifth visual "pair" (images should be consistent in size and symmetrically placed) 

Page 12 (back cover) should be blank. Photoshop should be used to improve the seamlessness of the pairings.



Online file submission for UI Copy and Image Center  (in Commons bldg)

Additional Recommendations

• Printing on both sides
• Binding: Unibind or Thermal Tape
• Be sure to specify binding edge (top or left)

Binding documents usually requires print proof approval (in person at the Copy Center), before binding process is completed. Be sure to stop by for print approval at least 20 min before final pickup.

Pair Project booklets due for review Monday, Feb 4, 8:30am.

Week 3 Day 2 - Wednesday, Jan 23 - Homework

1. Print out of top 5 visual pairs on separate 11x17 paper for group critiques, due Monday Jan 28, 8:30am.

 2. Begin gathering information and sample works for Research Project. Presentation template to be provided next week.

Project 1: Visual Pair Project

Download Project 1 specifications

Description - Part 1/ Contrast and Juxtaposition:

Using your photographs and found magazine imagery (scanned), you will be creating unique visual "pairings". Parings should be based on formal relationships (between shape, color, value, texture, etc). Feel free to rotate, crop and/or scale your images during your discovery process.

Explore ways in which your found visual pairs begin to tell a specific story or narrative. Convert all images to black and white (adjust levels and contrast accordingly). Select 5 of your best visual "pairs" to layout on five 11x17 sheets of paper. Each visual pair must be consistent in size and proportion. Placement of image pairs on a single page spread should be symmetrical, however placement of images from spread to spread can be different.

Description - Part 2/ Crafting the Story:

Using InDesign or Illustrator, you must layout your five visual pairs into a 12 page booklet. Individual page size should be 8.5"x11" (portrait/vertical or landscape/horizontal in orientation). You have the option of using black & white or color images (or combination of both).

Page 1 (front cover) should include at least a title and your name.

Page 2-3 include your first visual "pair" (images should be consistent in size and symmetrically placed)

Page 4-5 include your second visual "pair" (images should be consistent in size and symmetrically placed)

Page 6-7 include your third visual "pair" (images should be consistent in size and symmetrically placed)

Page 8-9 include your fourth visual "pair" (images should be consistent in size and symmetrically placed)

Page 10-11 include your fifth visual "pair" (images should be consistent in size and symmetrically placed)

Page 12 (back cover) should be blank.

Photoshop should be used to improve the seamlessness of the pairings. Whether you feel it appropriate to create a seamless composite between each image pair and keep images separate, be sure address consistency issues in tone, color, proportion, and angle/perspective. 

Objectives:

+ Demonstrate technology best practices in regards to image preparation, modification and integration

+ Demonstrate the process of gathering, selecting, and implementing imagery in support of visual communication

Specifications:

+ Use Photoshop to prep and manipulate images (size, resolution, bw conversion, contrast improvements)

+ Use Illustrator or InDesign for layout of Visual Pair Booklet

+ Imagery should consist of your own photographs and/or found magazine scans (no images found online)

Deadlines:

 Phase 1: Print out of top 5 visual pairs on separate 11x17 paper due Monday Jan 28, 8:30am.

 Phase 2: Final print out of Visual Pair Booklet due Monday, Feb 4, 8:30am.

Grading criteria (10% course grade):

Communication—30% of project 1

Design Aesthetics—30% of project 1

Innovation—10% of project 1

Technical Skill—20% of project 1

Process—10% of project 1

Creative Musings: Week 3

Jeff Koons Exhibition at SCHIRN KUNSTHALLE FRANKFURT (2012)

James Rosenquist F1-11 MoMA Exhibition Site


Kuleshov Effect (film montage technique) developed by Lev Kuleshov in early 20th century

Research Project: Image, Art & Design

Description:

Select an artist/designer from the approved list, below. You must conduct research

regarding the artist/designer, his/her background, training, and body of work that has

influenced and impacted the way imagery is used in Art & Design.

You should document various accomplishments and achievements related to your

artist/designer’s chosen field and how it relates to photography. Please also select one

significant project completed by the artist/designer to further examine in a detailed case

study. The case study should analyze the chosen project from beginning to end (research,

process, development, completion). Research should be assembled into a final presentation

created in InDesign (template to be provided).

Final presentations are scheduled for Wednesday, February 20th, 2013. Oral presentations

should be roughly 10 minutes in duration.

Wikipedia is not a reliable source of research and should not be used. You will be asked to

cite all sources, so be sure to keep track of all publishing details related to books, articles,

journals used in your research.

Objectives:

• Discuss the creative process of an artist/designer

• Explain the impact and influence that image has on Art & Design

• Display oral and written communication skills

• Prepare a formal, oral and visual presentation

Grading Criteria:

+ Completion of all points in the study

+ Organization of Materials Presented

+ Depth of Research

Quality and Design of Oral/Visual Presentation

Approved Artists/Designers:

Herbert Matter -- Filip Fitchel

Josef Müller-Brockmann

Will Burtin

April Greiman -- Christian Sanchez

Kyle Cooper -- Kurt Abo

Danny Yount -- Jordan Amoth

2x4 (Michael Rock)

Pentagram (Paula Scher) -- Lindzey Grasmick

Laszlo Moholy-Nagy -- Michael Rosgen

Man Ray -- Omni Franceitch

Hannah Höch

Raoul Hausmann

Grete Stern -- Leon Humpherys

Yutaka Inagawa -- Jack Hsu

Robert Rauschenberg

David Hockney -- Kate Murdock

Kenneth Snelson

Richard Avedon -- Ellen Williams

Ansel Adams -- Victoria Lock

Robert Brownjohn -- Ben Ferry

Gregory Crewdson

Jeff Wall -- Tarin Leach

Ezra Stoller -- Ale Lozano 

Balthazar Korab -- Justin Quinn

Julius Shulman

Pair Project: Phase I (Wednesday, Jan 16 Homework)

Using a film or digital camera take at 36 photographs that explore space, form, color and/or composition in an interesting way. You must then bring 25 of your best photos for review to class (next Wednesday, Jan 23). If you use a film camera, get 4x6 prints made by the start of next class. If using a digital camera, be sure to transfer your files to a memorystick by the start of next class.

The subject matter in your photographs is entirely up to you (signs, buildings, objects, nature, etc), however please refrain from photographing smiling posed people. Overall, take into consideration the visual quality of your image: explore intersections of lines and shapes, unique color contrasts, the orientation (portrait or landscape) of your composition.

Please also bring 3 different magazines that are image intensive (art, design, travel, fashion, cooking) to Wednesday’s class. You will be browsing these magazines for unique imagery that can be used (and scanned) in the 2nd Phase of the Pair Project next week.