Old School

Launching the Imagination Chapter 5&6

Problem seeking and problem solving... Now, that's a subject I can sink my teeth into. I have lived the vast majority of my life running away from problems. I always thought of problems as something to avoid, at all cost. Funny, how when you live your life like that, you end up with nothing but a big huge pile of unsolved problems. In my former life, it never would have occurred to me to actually seek out problems (on a conscious level, anyway). Through my experiences with education and, more specifically, my growing experiences with the world of creating art, I have recently become aware of the powerful opportunities for growth and experience associated with problem solving.

Before, I always just created art because I thought it looked cool and it was something to do, to occupy my time. As a graphic designer, I will be chiefly in the business of solving my clients problems; namely, how to communicate their ideas and promote their desired corporate identities, visually. As an artist, I am starting to recognize the power that artists have to raise social consciousness. This can only be done by defining a problem and seeking a creative solution that expresses the idea/philosophy you wish to communicate. In Chapter 5, the author states "When a problem is too easy or the solution is too familiar, little is learned and nothing is gained". This goes for life, as well as art and education, I believe. By defining a problem, doing research, using divergent and convergent thinking to devise and execute a strategy, we can create better art, as well as learning and growing, as individuals. Two other concepts that were discussed in this chapter are both things that I think will be very useful, in the creative process; journaling and brainstorming. Both will be added to the repetoir.

Chapter 6 discussed the development of critical thinking. This is an important part of our growth process, as artists. Critical thinking combines evaluation, analysis, and exploration of alternatives. A big part of this process is accomplished by critiques, of our own work and of other's. We have done a little of this, in class. Honestly, I feel like our critiques were a little "touchy feely". I think that we could all do with a little more constructive criticism. When I look at other students work, I am hesitant to point out what I see as weak points, not wanting to be offensive, or hurtful. As artists, we need to develop open minds and thick skin, if we are to achieve our full potential.

Chapter 4, Cultivating Creativity

This chapter focused on the principles and practices that promote the cultivation of creativity. While reading this chapter, I was pleasantly surprised to find that all the basic characteristics of the creative individual were very much a part of my personality and over all makeup. I have never considered myself to be an exceptionally creative individual, when compared to the artists I admire, but the first part of this chapter pretty much described me to a tee. I guess I just have to keep working at it. There are certainly a couple of the practices described in this chapter that I could use a little work on. Namely, goal setting and time management. I guess one of my goals needs to be improving my goal setting ;) Maybe I should set aside a specific time to work on goal setting? ;)

The Principles of Two Dimensional Design

I really like this book. There is so much invaluable information. This chapter focuses on composition. There is so much packed into this chapter, that I don't have time to talk about it all. Rather, I'll just focus on a couple key elements that really caught my attention. When discussing the various principles of composition, the principle of Closure "the minds inclination to connect fragmentary information to produce a completed form" reminded me of a piece I created using a similar effect used in the example given in the book (3.14) In this piece, I created a portrait of Abraham Lincoln, using the text from his famous speech "The Gettysburg Address"

The concepts of balance and symmetry have always had a special place in my heart. While I was out shooting some pictures of the winter landscape the other day, I came across what I feel is a good example of radial symmetry and balance. The second image was adjusted in Photoshop (levels and exposure).

The twisted bush seems to swirl in a counter clock-wise motion. This effect is heightened by the grass in the lower portion of the canvas being blown to the right, by the wind. The focal point of the bush is balanced by the symmetrical division of the soft gradient sky and the harsh winter landscape.

Photography

I just joined the Tri-Cities Digital Photography Club, on Face Book. Click herehttps://www.facebook.com/photo.php?fbid=10201164490905911&set=gm.10151544969496646&type=1 to check it out.

Photography

I'm taking a LOT of pictures, for my design classes, right now. I don't have a lot of previous experience with this medium of art. A photographer buddy of mine hipped me to this site. If you need some inspiration and some idea what other photographers are doing, Pixoto is an awesome website. You can also post your own photos there and enter amateur contests. It's given me some awesome ideas in what to look for, when I am out shooting.

Digital Visual Culture Blog 3

The Digital Image and the Pleasure Principle: The Consumption of Realism in the Age of Simulation, By Van Koten

FINALLY!!!, A chapter in this book that both held my interest all the way through AND I could understand what the author was actually talking about. Basically this article hypothesis about the ramifications of modern media, from a sociological and philosophical perspective, in regards to it's increased dominance in both the workforce and the mass entertainment industry.  

Koten discusses the difference between "hot" and "Cool" media, from the famous theorist Mcluhan's perspective. Hot media being low in viewer participation, such as: Photographs, Prose, Cinema, and the printed word. Cool media being high in viewer participation, such as: Television, Poetry, Hieroglyphs, and classical music. I agree with the author that this form of classification is no longer appropriate in the modern age. In the modern day of mass media, everything has become so overlapped and interactive that it is really hard to draw the line between the two.

The theorist McLuhan postulates that the content of each new medium is another previous medium. The examples given are TV from Cinema, Cinema from the printed word, Print from writing, writing from speech, speech from thought, and thought from experience. An interesting question is; "Does each new form of media bring us closer to, or further away from the origin of experience?"

The author then goes on to discuss psychological and sociological ramifications of video and interactive games. The increasingly popular question these days is whether or not video games cause violence and whether or not interactive gaming is causing people to become socially retarded. This question is far less interesting, to me, than it seems to be to most modern political and cultural theorists. There is no definitive answer to these questions. I believe it goes back to Andy Warhol's question, "Does art imitate life, or does life imitate art?" Personally, I believe it is a symbiotic relationship.

Reading and blog response 3

Based on the article “How Images Think”, by Ron Burrnett. MIT Press; 2004

I find it entirely appropriate that this reading was stapled together so that it reads upside down and backwards... Does anyone else think that Sena did that on purpose? (I do). Don't get me wrong; it's an interesting subject. Actually, I even understood a great deal of it (I think). But REALLY? How can anyone wax eloquent and philosophical, at such an incredibly thorough length, about how images and viewers interact in the digital age? Can I just get the cliff notes, next time? LOL

If I'm not mistaken, the term“image worlds”refers to the ability of the photographer/designer/director to produce images that create and/or promote an identity, be it for historical, promotional, or personal reasons. The image creator's awareness and use of this process has become integral part of the way images are produced and used in the modern digital age; from TV., movies, video games,advertisements, to modern art (for art's sake). The author also raises our awareness concerning how modern society views and understands history, through the images it consumes and interacts with.

When the author discusses the images ability to “think”, I believe he is referring to how we, as viewers, interact with the image; how we synthesize interpret, and perceive the meaning of the image, and how that changes over time. In the modern age, we are perpetually bombarded with images,twenty-four seven. We eat, sleep, and breath images; we think, feel, and communicate with images. Once again, I pose the question, “where is the line drawn between using technology and being used by technology?”Something we should all remain aware of and give some thought to... 

Apparently, you cannot write your posts in The Cloud, copy them, and then paste them on your blog. Hence the to dark to read formatting...

To this point, I am a complete failure, as a blogger.

I really hope no one reads these things, besides Sena (perhaps she will take pity on me?)

Hear are my closing remarks about Lehman's article, witch I neglected to add. Perhaps I will get the formatting right, this time... who knows?

When Lehmann talks about the I/O brush, a multimedia tool for children, I understand what she is referring to, when she points out that the focus is on the art being made with the technology and not on the creative work that went into developing the technology. What do the creators of this technology want, a medal? I am sure that they are well compensated for their work and respected by others in their field.

I don’t know, I guess I am just more interested in learning how to create digital art than I am in learning about the underlying philosophies connected to it’s historical relevance and legitimacy.

the following section is based off of:

Lehmann, Anne-Sophie. "Invisible Work: The Represtation of Artistic Practice in Digital Visual Culture. "Digital Visual Culture: Theory and Practice. Ed. Anna Bentkowska-Kafel, Trish Cashen, and Hazel Gardiner. Bristol: Intellect Books, 2009. 33-45. Print.

Is it just me, or does anyone else have a headache, after reading this book?  I am with the author, when she is talking about the modern artist having to be “an engineer, programmer, graphic designer, and hardware constructor all at once”. This is why I am enrolled in this program. I grew up in a time without the internet; where we only had one phone and it was connected to the wall. I am perfectly happy drawing, painting, tattooing, doing leather-work, and various other forms of “traditional art”. These days though, you can’t even really do any of that (with any sort of competitive edge) without internet/web know how. If you want to be marketable, as an artist, you really do need to offer the whole package.So, I decided “it’s time to get on the bus, or get left behind”. I may still be running to actually catch the bus, but I will not be left behind. The more I learn about digital technology, the more fascinated I become with it. There are whole new universes of creation and opportunity opening up.

When Lehmann starts to get into the importance of designating creative spaces in the digital era, I am pretty much immediately baffled (I know, it’s only the first section of this reading). Why is it so important? Do we really understand medieval artists creative process’, by viewing their workspace? I don’t think so. Are work spaces in the modern age completely sterile, mere laboratories? I don’t think so; I know mine sure isn’t. There are sketches, drawings, paintings, and other various art supplies cluttered about my room. Yes, in the middle of the desk sits my computer, where a great deal of the finished work ends up. Yes, I can access this artwork and continue working on it from virtually anywhere. That doesn’t mean that I don’t have a home base of creative operations. Am I missing something? Does anyone really create their art, from start to finish, completely in “the cloud”? Once again, I fail to see the importance of how, or if, the creative spaces of modern media artists can be represented.

Can't seem to get this formatting right. Sorry bout that ;(

Reading response 2

The following section is based off of:
Stewart, Mary. Launching the Imagination: A Comprehensive Guide to Basic Design. 4th ed. New York; McGraw-Hill, Inc., 2012. Print
Chapter 2

For the vast majority of my artistic career (so to speak), has mostly been dominated by black and white. I’m sure that says something about me… not going to think too much about that, right now… Anyway,  I thought the chapter on color theory was fascinating. I had previously studied up, a little bit, on the basics of color. I was already familiar with the terms additive, subtractive, RGB vs. CMYK, hue, value, intensity, and complementary colors, but I really learned a lot from reading about monochromatic, analogous, split complementary, chromatic grays and earth colors, the use of disharmony, and all the various uses of the previously mentioned. It is a lot to take in, but I’m off to a good start, I feel.

I thought it was interesting that complementary colors, when mixed together, produce a wide array of browns, whereas when paired, they become ideal partners and each increase the power of the other. The possibilities for use of split complementary colors, such a Georgia O’Keefe’s “Jack in the Pulpit No. V” were very interesting, as well.

Perhaps the most intriguing of all, to me, was the concept of using disharmony to create an effect that is both disturbing and beautiful, illustrated by the example of Francis Bacon’s “Tryptych, 1972”. This type of concept is right up my alley. You can bet that I will be making good use of this concept in future works of art.

Learning about uses for color, such as creating the illusion of space, weight and balance, distribution and proportion; using color to add emphasis, evoke emotion, and symbolic use of color is all going to be very relevant and useful to know about and utilize, when pursuing a career in graphic design. Being able to target a specific audience, by one’s use of color, and evoke specific emotions is a powerful tool indeed.

Reading Response 1

 Launching the Imagination; A Comprehensive Guide to Basic Design, by Mary Stewart.

This reading on the basic elements of art: line, shape, value, and color, was a little bit more down to earth and easier to comprehend than that last reading. Mary Stewart's discussion on the unique characteristics of these basic elements of art and her analysis of their uses in art was very informative. Her basic definitions, cross referenced with excellent examples of how these principles were used by various artists, in different mediums made the concepts easy to understand.

In her discussion of line, one of the most basic and elemental components of design, Stewart began with a basic definition of what a line was and then moved on to discuss different types of lines and the varying techniques that artists use to develope expression and effect, with lines. One of my favorite types of lines is the Calligraphic line,  Stewart informs us was derived from the Greek words kalus, meaning "beautiful" and graphein, meaning "to write".  I enjoy writing poetry using calligraphy. Like the poetry itself, the calligraphic lines used to compose it tell their own story and have their own expression.

In her section on shape, Stewart describes how powerful the use of both flat and gradated shapes can be for graphic designers. She talks about how different types of shapes can be employed to emphasize different forms of expression. Stewart discusses the different types of  shapes and how they are formed; such as Rectilinear, "those composed from straight lines and angular corners", and Curvilinear, "those dominated by curves and flowing edges". She also talked about the precise edges and mathematically consistent curves often used in architecture and industry, as well as Organic shapes, more often found in the world of nature.
One of the most interesting things she discussed, in regards to shape, was "ground reversal": when "figures and ground shapes are equally strong", as in M.C. Escher's Metamorphosis ll. 

Texture is described by Stewart as "the surface quality of a two-dimensional shape or a three-dimensional volume". One of the cool things about texture, is that it incorporates both the sense of touch, as well a vision. There is physical texture, using variations in the surface of the canvas, such as thickly applied paint; a technique often employed by Rembrandt. Another form of texture is visual; an illusion employed by the use of descriptive simulation of a visual texture. A form of creating texture I have found quite interesting,
 is to use letters, numbers, and words. By varying the size density, and orientation of the text, you can affect strong meaning to a verbal texture. I once created a portrait of Abraham Lincoln, using the text of his Gettysburg Address.

Value, referred to as the relative lightness or darkness in an artwork, can be used for a variety of things, such as: creating the illusion of space, suggesting volume, effecting the balance of the composition, or heightening emotion. Using darker values in a piece adds an element of mystery, or drama, illustrated by Ray K. Metzker's "Philidelphia". Using lighter values emulates optimism, openness, and may express clarity. In the book, the example given is Conley Harris' "Doubles/Triples, Italy". To create a dramatic effect when I draw using charcoal, I employ a technique called "chiaroscuro", literally meaning "light-dark". I use a dark background to create contrast, with the focus being on the strongly emphasized values within the primary light source.

All pretty basic stuff... but still the most valuable tools in any artists toolbox :)

Bentkowska-Kafel, Anna, Trish Cashen, and Hazel Gardiner. "Aesthetics and Interactive."Digital Visual Culture: Theory and Practice. Vol. 3. Bristol, UK: Intellect, 2009. 15-22. Print.

Culture Blog 1

Aesthetics and Interactive Art, by Karen Cham

This blog was created for my DTC 355 Multimedia Authoring class.

I must confess that the scope of this article and a lot of the terminology and references are beyond my limited comprehension... But, the gist of it is the question; "are modern/digital technologically driven art forms to be considered a legitimate artistic medium?" This article seemed to be a whole lot of high brow, intellectual posturing and postulation over what seems, to me, to be a simple question and answer.

Digital and multimedia art are created using all the classic elements of art: line, shape, space, balance, color, etc. Digital media art forms are, I believe, the purest aesthetic representation of the age we live in. Video games, web sites, cell phone operating systems, t.v., movies, and the combination of all previously mentioned embody the philosophy of the modern age, whether by intention, or not.

As an aside note, the question I propose is this: "Where do we draw the line between using technology and being used by technology?"

Day one of my official entry into the world of multimedia. I know little to nothing, at this point, about web based technology. I have never even read a blog before, let alone post one. This blog will chronicle my experiences and growth, as I journey forth into the fascinating world of digital technology and multimedia art.