This is your last in-class opportunity to work on your 1000-year vision of Ryland's photographs. On Tuesday, we'll print them out.
I did want to share one tutorial for a tool that might be useful for eliminating the background of images you want to composite – though it only works effectively for images that have pretty uniform backgrounds. It's the Background Eraser tool – check it out:
Thursday, October 4, 2018
Tuesday, October 2, 2018
Thursday, September 27, 2018
Tuesday, September 25, 2018
Assignment for Thursday (9/27)
Quick assignment to lay some conceptual groundwork for your "Tahoe Timescape" photo –
1. Identify some historical event that happened approximately 1,000 years ago. Write it down on a piece of paper. Be prepared to share the event in class.
2. On the same piece of paper, write down some historic even that has occurred in the past 50 years, that you think people will still think was a significant historical event 1,000 years from now.
1. Identify some historical event that happened approximately 1,000 years ago. Write it down on a piece of paper. Be prepared to share the event in class.
2. On the same piece of paper, write down some historic even that has occurred in the past 50 years, that you think people will still think was a significant historical event 1,000 years from now.
Thursday, September 6, 2018
Assignment for Tuesday (9/11)
Write a three-page (doublespaced) paper on a collage artist, choosing from the list below. When you've selected your artist, post the artist's name in the "comments" below, along with which section of the class you're in -- morning or afternoon (and make sure no one in your section has already claimed that artist by checking out the comments before you). This is first come, first serve, so the quicker you pick and artist and comment, the wider choice you'll have.
Your paper should include some biographical background, to put the artist's work in context, and you should also choose two specific collage works by the artist, and give an aesthetic analysis of those works. You can talk about content -- what is the "meaning" of the piece, and how does the artist articulate that meaning? What sort of sources did the artist draw the collage material from, and how does that inform the meaning of the work? Also analyze its formal properties: how has the artist used color? Composition? Variation - of size, of light areas/dark areas, etc? Negative space and positive space? Rhythm? Texture? Is there a foreground and a background -- and if so, how do they relate to each other?
The central message of your paper should be a summary of the particular methods the artist uses and the effects the artist achieves through collage. You can break down the three-page structure like this:
Page 1: Central message and bio
Page 2: Analysis of one collage
Page 3: Analysis of second collage
You will be presenting your paper next Tuesday. Bring a printed-out version of the paper and visual materials (the two images you've chosen, and anything else that will help in explaining your chosen artist and his/her work -- for the presentation, you can make a powerpoint and/or bring digital images to project). You will also be making a digital collage that is in some way a response to the artist's work; we will be working on that assignment for a couple classes. This is not to be a copy of any of the artist's work -- but take some principles that the artist embodies, and apply them to a work of your own making. For instance, Max Ernst used illustrations from 19th-century popular illustrated novels and science books and combined them to make a kind of disjointed story. What would a collage-story look like if it were assembled from science books of today?
So - due this coming Tuesday - the paper (which you will present), and an idea for your "artist response" collage, which you will begin working on in class the following Thursday.
Use the MLA guide for citing sources for your bibliography, for the paper:
http://www.umuc.edu/library/libhow/mla_examples.cfm
Citation help:
Citation machine
Easybib
Here is the common writing rubric, which I'll be using to grade your paper:
http://www.sierranevada.edu/wp-content/uploads/SNC-Common-Rubric-Written-Assignments-4-columns1.pdf
And here's the list of collage artists. Not all of them were primarily collage artists, but all used collage:
Eileen Agar
Jean Arp
Romare Bearden
Umberto Boccioni
Mark Bradford
Georges Braque
Joseph Cornell
James Dawe
Arthur G. Dove
Marcel Duchamp
Dan Eldon
Max Ernst
Raoul Hausmann
John Heartfield
Hannah Hoch
David Hockney
Lee Krasner
Kazimir Malevich
Neck Face
Man Ray
Henri Matisse
Pablo Picasso
Ad Reinhardt
Allison Renshaw
Mimmo Rotella
Kurt Schwitters
Nancy Spero
Annegret Soltau
John Stezaker
Bernie Stephanus
Jonathan Talbot
Cecil Touchon
Jesse Treece
Marnie Weber
Please, when you've selected you collage artist, add a "comment" to this blog with the name of the collage artist you're doing your presentation on. Do not pick an artist who someone else has "claimed," so that we don't have a number of repeats in the presentation. Also - several of the artists on the list worked in a variety of media - make sure the examples you pick are actual collages, and not paintings.
Your paper should include some biographical background, to put the artist's work in context, and you should also choose two specific collage works by the artist, and give an aesthetic analysis of those works. You can talk about content -- what is the "meaning" of the piece, and how does the artist articulate that meaning? What sort of sources did the artist draw the collage material from, and how does that inform the meaning of the work? Also analyze its formal properties: how has the artist used color? Composition? Variation - of size, of light areas/dark areas, etc? Negative space and positive space? Rhythm? Texture? Is there a foreground and a background -- and if so, how do they relate to each other?
The central message of your paper should be a summary of the particular methods the artist uses and the effects the artist achieves through collage. You can break down the three-page structure like this:
Page 1: Central message and bio
Page 2: Analysis of one collage
Page 3: Analysis of second collage
You will be presenting your paper next Tuesday. Bring a printed-out version of the paper and visual materials (the two images you've chosen, and anything else that will help in explaining your chosen artist and his/her work -- for the presentation, you can make a powerpoint and/or bring digital images to project). You will also be making a digital collage that is in some way a response to the artist's work; we will be working on that assignment for a couple classes. This is not to be a copy of any of the artist's work -- but take some principles that the artist embodies, and apply them to a work of your own making. For instance, Max Ernst used illustrations from 19th-century popular illustrated novels and science books and combined them to make a kind of disjointed story. What would a collage-story look like if it were assembled from science books of today?
So - due this coming Tuesday - the paper (which you will present), and an idea for your "artist response" collage, which you will begin working on in class the following Thursday.
Use the MLA guide for citing sources for your bibliography, for the paper:
http://www.umuc.edu/library/libhow/mla_examples.cfm
Citation help:
Citation machine
Easybib
Here is the common writing rubric, which I'll be using to grade your paper:
http://www.sierranevada.edu/wp-content/uploads/SNC-Common-Rubric-Written-Assignments-4-columns1.pdf
And here's the list of collage artists. Not all of them were primarily collage artists, but all used collage:
Eileen Agar
Jean Arp
Romare Bearden
Umberto Boccioni
Mark Bradford
Georges Braque
Joseph Cornell
James Dawe
Arthur G. Dove
Marcel Duchamp
Dan Eldon
Max Ernst
Raoul Hausmann
John Heartfield
Hannah Hoch
David Hockney
Lee Krasner
Kazimir Malevich
Neck Face
Man Ray
Henri Matisse
Pablo Picasso
Ad Reinhardt
Allison Renshaw
Mimmo Rotella
Kurt Schwitters
Nancy Spero
Annegret Soltau
John Stezaker
Bernie Stephanus
Jonathan Talbot
Cecil Touchon
Jesse Treece
Marnie Weber
Please, when you've selected you collage artist, add a "comment" to this blog with the name of the collage artist you're doing your presentation on. Do not pick an artist who someone else has "claimed," so that we don't have a number of repeats in the presentation. Also - several of the artists on the list worked in a variety of media - make sure the examples you pick are actual collages, and not paintings.
Tuesday, August 28, 2018
Assignment for Thursday (8/30)
Your scanned self-portrait is due at the start of Thursday's class.
In addition, I want you to have images ready for our next project - the Image and Text project.
You will be making two different pictures, working from the same initial image. Produce an image that can relate to text in an interesting way. Create that image either by shooting it yourself (it can be a staged image, or an image "caught on the fly"), or it can be an image that is collaged from at least three sources (if you want to make a drawing as one of your sources, that's perfectly acceptable -- otherwise you can cull images from Google images and so on).
Using that image as a base, make two seperate treatments of the image, with legible text in each.
In treatment #1, use text that has a sense of "interior monologue." It doesn't literally have to be an interior monologue, but it should have that interior quality -- as if we're listening in on the thoughts of someone -- perhaps the thoughts of someone in the picture, perhaps the thoughts of someone looking at the scene (as if we're looking at the scene through someone's eyes, and hearing their thoughts).
In treatment #2, take the same image and place text in it that has a quality of "exterior commentary" -- the type of commentary one might find in a news caption or textbook, explaining what's happening, or somehow passing judgement on the scene. It should be as if the words are coming from a source that's not participating in the scene -- but commenting upon it from some sort of remove.
Each treatment of type should be distinct, utilizing different fonts and different layout strategies. Think about how the text relates to the image both conceptually (in the manner of an idea) and formally (how it sits on the page, how the shapes of the letters relate to the imagery, etc). Try to be as radically different in your font treatments as possible. For instance, if you have one treatment where the text is all one font, horizontal, small, and in one color, the other treatment might mix different fonts, run the text vertically, large, and in various colors.
You will have class time to work on this project on Thursday. But come prepared with an idea, and with your text and images already selected.
In addition, I want you to have images ready for our next project - the Image and Text project.
You will be making two different pictures, working from the same initial image. Produce an image that can relate to text in an interesting way. Create that image either by shooting it yourself (it can be a staged image, or an image "caught on the fly"), or it can be an image that is collaged from at least three sources (if you want to make a drawing as one of your sources, that's perfectly acceptable -- otherwise you can cull images from Google images and so on).
Using that image as a base, make two seperate treatments of the image, with legible text in each.
In treatment #1, use text that has a sense of "interior monologue." It doesn't literally have to be an interior monologue, but it should have that interior quality -- as if we're listening in on the thoughts of someone -- perhaps the thoughts of someone in the picture, perhaps the thoughts of someone looking at the scene (as if we're looking at the scene through someone's eyes, and hearing their thoughts).
In treatment #2, take the same image and place text in it that has a quality of "exterior commentary" -- the type of commentary one might find in a news caption or textbook, explaining what's happening, or somehow passing judgement on the scene. It should be as if the words are coming from a source that's not participating in the scene -- but commenting upon it from some sort of remove.
Each treatment of type should be distinct, utilizing different fonts and different layout strategies. Think about how the text relates to the image both conceptually (in the manner of an idea) and formally (how it sits on the page, how the shapes of the letters relate to the imagery, etc). Try to be as radically different in your font treatments as possible. For instance, if you have one treatment where the text is all one font, horizontal, small, and in one color, the other treatment might mix different fonts, run the text vertically, large, and in various colors.
You will have class time to work on this project on Thursday. But come prepared with an idea, and with your text and images already selected.
Tuesday, August 21, 2018
Welcome FA18
Hi there -- and welcome to the blog for the Digital Darkroom Class.
For next class :
Assemble personal materials for scanning to create a digital self-portrait -- be sure NOT to include photos or other images of your physical self. Give some thought to objects and textures that somehow say something about you, your identity, your sense of self. Make sure to bring at least three seperate things (all of them have to be able to be placed on a scanning bed, of course).
Please remember to acquire a jump drive, if you don't already have one -- it would be good to have it for Thursday.
And here are some links to some of the artists whose work I showed in class:
Jill Greenberg
Flickr "Brushes" gallery
Chris Jordan
Alberto Seveso
Andrea Innocent
Emily Eibel (Tomby Illustration)
eBoy Pixel Art
12:31 and the Visible Human project
African Digital Art
And the online art communities I talked about:
http://www.deviantart.com
http://www.conceptart.org
Visible Human Project source:
Finding Paths through the world's photos:
The Most Photographed Barn in America
Link to syllabus:
https://www.dropbox.com/s/6c4s0druusq7vmj/18FallDART230-1Lanier.doc?dl=0
For next class :
Assemble personal materials for scanning to create a digital self-portrait -- be sure NOT to include photos or other images of your physical self. Give some thought to objects and textures that somehow say something about you, your identity, your sense of self. Make sure to bring at least three seperate things (all of them have to be able to be placed on a scanning bed, of course).
Please remember to acquire a jump drive, if you don't already have one -- it would be good to have it for Thursday.
And here are some links to some of the artists whose work I showed in class:
Jill Greenberg
Flickr "Brushes" gallery
Chris Jordan
Alberto Seveso
Andrea Innocent
Emily Eibel (Tomby Illustration)
eBoy Pixel Art
12:31 and the Visible Human project
African Digital Art
And the online art communities I talked about:
http://www.deviantart.com
http://www.conceptart.org
Visible Human Project source:
Finding Paths through the world's photos:
The Most Photographed Barn in America
Link to syllabus:
https://www.dropbox.com/s/6c4s0druusq7vmj/18FallDART230-1Lanier.doc?dl=0
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