ASU IDM194 TERESA MIRO

web project

2010-05-04T09:30:00.001-07:00

http://yotengoradio.webs.com/

web project

2010-05-04T09:04:00.001-07:00

web project

A Creative Space Made By Lauren Lentini

2010-05-04T08:42:00.000-07:00

MySite

2010-05-04T08:01:00.000-07:00

MySiteLuisG

Clark Illustrations Concept Art

2010-05-04T07:59:00.003-07:00

https://sites.google.com/a/asu.edu/clarkillustrations/home

It's just awesome.

Kaylynn Jones's website

2010-05-04T07:59:00.002-07:00

Alain's Portfolio

2010-05-04T07:59:00.001-07:00

Michele Dekker project portfolio

2010-05-04T07:58:00.000-07:00

David Moreno

2010-05-04T07:56:00.001-07:00

Temple Portfolio

2010-05-04T07:56:00.000-07:00

Here is my webpage for the class.

My Blog Web Melissa Adkins

2010-05-04T07:55:00.001-07:00

Gillian Tomimbang's Portfolio

2010-05-04T07:55:00.000-07:00

Poster of the Class Show!

2010-05-03T11:38:00.001-07:00

What Makes You Laugh?

2010-04-20T07:54:00.000-07:00

This is by Melissa and Joe. It was so much fun making this video, but it was also hard work. I hope you guys get a funny kick out of it!!!!

/Volumes/NO NAME/Temple_Adkins.mov

Kaylynn Jones' "The Vending Machine" video

2010-04-20T07:52:00.000-07:00

Video Project Luis G

2010-04-20T02:12:00.000-07:00

Here is my Video Project, i used different programs to make this video possible.

Now my goal in this video is that i decided to create a behind the scenes, live footage from an upcoming tv show that i made up, I'm pretty sure you seen this kind of videos before in dvd's that come with special bonus and so on, so from the beginning of the project i wanted to do this.

I decided to leave the audio of the actors kind off out due to the music in the background, for me a sneak peak is not always the voice acting but the visualization of whats going on so The Last Chance is an independent film that i would like to continue as a hobby project and it will be added in my current projects list.

http://www.youtube.com/watch?v=FhagdhdT_E8

Stop Motion--Kaylynn and Gillian

2010-03-30T08:22:00.001-07:00

Youtube link to our video project. =]

2010-03-24T21:22:00.000-07:00

David Moreno

2010-03-23T12:58:00.000-07:00

Shazaam!

Luis_G_Stop Motion

2010-03-23T08:48:00.000-07:00

Stop Motion The Amazing Little Man

2010-03-23T07:59:00.000-07:00

2010-03-23T06:59:00.001-07:00

2010-03-22T20:14:00.000-07:00

Intro to Digital Media
Video Project
Project: Collaborative Video Narrative (Short Film)

Objectives:
Technical: To gain a basic understanding of filming and editing techniques and the
technology and methods associated with film / video production.
Conceptual: To use motion pictures (video / film) as a narrative device to tell a story.
Overview: Your challenge is to work in a collaborative environment – sharing all responsibilities
to produce an original short-film (two minute minimum) narrative.

References:
http://www.pbs.org/independentlens/insideindies/shortsfest/index.html - PBS Shorts
http://www.48hourfilm.com/filmcatalogue/ - 48 hour film fest
http://www.thesmalls.com / - lots of online short films
http://www.studentfilms.com/ - lots of student films online
http://www.cremaster.net/ - conceptual video artist, Matthew Barney.

Vocabulary:
Frame Rate, FPS, Time Code, Story Board, Sequence, Shots (Long / Wide, Medium,
Close-up), Camera Angles (Birds-eye, High, Eye Level, Low, Oblique / Canted),
Camera Movements (Pan, Tilt, Truck, Dolly, Boom, Roll, Hand-held, Zoom),
Transitions (Cut, Wipe, Cross Dissolve, Fade).

Materials:
Computer with video editing software (iMovie is perfect), video camera, media for
video camera (mini DV tape if using ASU camcorder), computer cables supplied with
camera, external hard drive.
Optional (but helpful): Tripod, lighting, props, costumes, friends.

Process:
1. Read chapter 13 on Aspects and Elements of Time (pages 290-316) in your text,
Launching the Imagination, by Mary Stewart.
2. Break into groups of 3 people. For the entirety of the assignment you will work
together in this group. All group members must be present and actively
contributing to all aspects of the project.
3. As a group brainstorm ideas about a possible storyline for your film. Remember,
the idea here is to communicate a specific idea or tell a story. What ideas can be
better expressed though the medium of motion pictures? What ideas can only be
expressed through video / film / motion? Your story can be dramatic, comedic,
mysterious, whatever – it’s up to you.
4. Write your idea down in one or two sentences, and bring it to class.
And example might be: A story of a man who is perpetually addicted to his computer,
the internet, and social-networking websites. One night a power failure causes him to
go mad, resulting in him running through the streets shouting his facebook status.

5. During the next class session share your ideas with your group. Agree on one idea
to pursuer, and begin to ruff out your timeline using a storyboard or scripts. They don’t
have to be pretty, but they should communicate your idea and story line effectively.
Include camera shots (long, bird’s eye, etc), movements (pan, track, etc), and
transitions (wipe, dissolve, etc). Do your chosen shots, movements, etc. help or
distract from your story?
6. As a group gather your materials, props, people, etc., and start shooting!
Remember to consider lighting, color balance, and consistency. Shoot lots of
footage. It’s always better to over shoot, and edit down than to have to go back and
re-shoot. Be sure to leave “space” before and after each clip for transitions / editing.
i.e. Start tape - wait 5 seconds - yell action - scene takes places - yell cut - wait 5
seconds - stop tape. Keep your shots short and to the point. A scene broken into
many small shots may be more interesting and easier to watch than one big long shot.
7. As a group edit you video using video editing software. Add transitions, sound
effects, and music as necessary. This “post-production” phase can make or break a
film. How slow or quick are your edits? How do you transition from one shot to
another? How do these choices affect the final overall feeling of the finished piece?
Add credits if you like, but remember the edited piece (minus credits) must be a
minimum of 2 minutes long.
8. Export your finished video as a quicktime file. In iMovie, do this by selecting
“Quicktime” from under the “Share” drop down menu. Then select Compress for:
“Expert Settings” in the subsequent dialogue box, and hit “Share.” In the next
window select “Movie to Quitcktime Movie” under the “Export:” dropdown, and
“Broadband - High” from under the “Use:” dropdown. Hit “Save.” Upload the video
to the Video project folder.

Grading
Rubric:
Total Points Possible: 100

Technical: Is your video the correct
length? Is your video shot correctly
(exposure, focus, color balance)? Is
your video and sound of high quality?

Exemplary Solid Average Poor Failing
40 34 30 26 24

Aesthetic: Did you think about
composition and balance while framing
your shots? Is your timing and editing
well paced? Does your choice of
angles, movements, and transitions
help or hurt your piece visually?

Exemplary Solid Average Poor Failing
30 26 23 20 18

Conceptual: Does your video make
sense? Is your intent clear to the
viewer? Does it evoke an emotional
response? Does your choice of angles,
shots, movements, and transitions help
or hurt your piece conceptually?

Exemplary Solid Average Poor Failing
30 26 23 20 18

Due Dates:
All video footage ready to edit ,editing begins:Tuesday, April 06
Finished Project: Tuesday,April 20

One of the first animated films, 1906

2010-03-01T23:32:00.001-08:00

Lauren Lentini- Chessboard

2010-02-23T08:39:00.001-08:00

alain vector

2010-02-23T07:57:00.000-08:00

Not A Single Care in the World

2010-02-23T07:48:00.000-08:00

Read it and relax. That's the whole point.

Connect4

2010-02-18T09:35:00.000-08:00

2010-02-18T07:34:00.001-08:00

Worship of Zero- David Moreno

2010-02-18T07:33:00.000-08:00

Luis Hernandez

2010-02-18T07:16:00.000-08:00

Luis G. Vector Exersice

2010-02-18T07:05:00.001-08:00

Melissa Adkins

2010-02-18T06:59:00.000-08:00

This is my name with an emphasis on the M because, it has all the things I like in it but it also has my family and friends in it; which basically means that I am only big and loud with my family and friends and the rest of the time I'm quiet and shy around other people. I like old style writing, thats why I used the Rosewood font. I love the colors red and black.

Temple Vector Exercise

2010-02-18T06:54:00.001-08:00

Question Everything!

2010-02-18T06:53:00.000-08:00

Why do people make the decisions they make? Are they carefully thought out or are they quick and careless?

Kaylynn Jones : "Freedom"

2010-02-18T06:45:00.001-08:00

Pierre Schaeffer , 1948 (Musique Concrete).1910-1995

2010-02-18T05:29:00.000-08:00

Love Love

2010-02-18T00:47:00.000-08:00

SOUND PROJECT

2010-02-17T10:07:00.000-08:00

Attached are two options for your sound project; it is due on TUESDAY MARCH 2TH at 7:40am.

Project: Option 1: Voice-only Audio Creation

Technical objectives: To gain a basic understanding of multi-track audio composition software and to gain experience recording and editing sound.

Conceptual objectives:
For this project you may use only your voice and/or other voices recorded by you. You may not use musical instruments, MIDI, or pre-recorded loops from the web or GarageBand. AND REMEMBER THAT WE ARE NOT CREATING SONGS BUT EXPERIMENTAL SOUND/VOICE PIECES.

To explore the methodology of using sound and voice as expressive devises.

Overview: Create and record a completely original piece of music using only your own voice, or other recorded voices, and other non-instrument noisemakers. Must be a minimum of 45 seconds inlength, and use at least 4 tracks (or layers) of sound.

References:
http://audacity.sourceforge.net/download/
http://www.homestarrunner.com/sbemail45.html
http://www.bobbymcferrin.com/

Vocabulary: Track, Timeline, Tempo, Time Signature, BPM, Measure

Materials: Computer with basic sound editing software (Audacity), headphones (if in the lab) and a computer microphone (I have USB mics).

Project: Option 2: SOUND LANDSCAPE

Technical objectives: To gain a basic understanding of multi-track audio composition software and to gain experience recording and editing sound.

Conceptual objectives:
For this project you may use only sounds recorded by you. You may not use musical instruments, MIDI, or pre-recorded loops from the web or GarageBand. AND REMEMBER THAT WE ARE NOT CREATING SONGS BUT EXPERIMENTAL SOUND/VOICE PIECES.

To explore and re-create the sound atmosphere of a particular place,real or imaginary, using recorded and non-instrument produced noises as expressive devises.

Overview: Create and record a completely original piece of music using only your recorded sounds, and other non-instrument noisemakers. Must be a minimum of 45 seconds inlength, and use at least 4 tracks (or layers) of sound.

2010-02-17T09:21:00.000-08:00

Matmos - A Chance To Cut Is A Chance To Cure
Matador Records
Country:US

Released:13 Mar 2001
Genre:Electronic
House, Abstract, IDM, Experimental

Tracklist
1 Lipostudio... And So On 5:35 X
Acoustic Guitar [Bowed], Electric Guitar, Effects [Straw And Water], Mixed By - M.C. Schmidt*
Clarinet - Stephen Thrower
Drums - Steve Goodfriend
Electric Guitar [Wah] - Mark Lightcap
Electric Guitar, Recorded By, Sampler, Edited By [Digital Editing], Sequenced By [Sequencing] - Drew Daniel
Voice [Group Speech] - Blake Linney , Brian Schultz , Cody Shedd , Daisy Kent , David Hornung , Emily Hsu , Ethel Chang , Jennifer Tom , Jerome Narvaez , Joanne Feinstein , Junn-Francis Masongsong , Kevin Ambrosini , Lee Medoff , Matt Kaufman , Nicole Williamson , Quang Hong , Robert Sproul , Ryan Petersen
Voice [Speech] - Blevin Blechdom* , Drew Daniel , Felix Kubin , Hrvatski , Jay Lesser , Katerin Von Ledersteger-Goodfriend , Katie Williams , M.C. Schmidt* , Miguel DePedro , Richard von der Schulenburg , Stefanie Ressin

2 L.A.S.I.K. 3:57 X
Sampler, Sequenced By [Sequencing], Edited By [Digital Editing], Mixed By - Drew Daniel

3 Spondee 6:15 X
Effects [Test Tones], Recorded By, Electric Guitar, Synthesizer [Sh 101, Juno, Mono/poly], Voice [Speech] - M.C. Schmidt*
Sequenced By [Sequencing], Effects [Sound Effects], Edited By [Digital Editing], Sampler - Drew Daniel
Ukulele [Wah] - Mark Lightcap
Voice - Rebecca Highlander

4 Ur Tchun Tan Tse Qi 5:05
Performer [Acupuncture Point Detector, Skin] - M.C. Schmidt*
Sampler, Sequenced By [Sequencing], Edited By [Digital Editing], Mixed By - Drew Daniel

5 For Felix (And All The Rats) 7:52 X
Edited By [Digital Editing] - Drew Daniel
Performer [Plucked And Bowed Rat Cage], Sequenced By [Sequencing], Mixed By - M.C. Schmidt*

6 Memento Mori 7:32 X
Performer [Human Skull, Goat Spine, Teeth], Mixed By - M.C. Schmidt*
Sampler, Sequenced By [Sequencing], Effects [Efx], Edited By [Digital Editing] - Drew Daniel

7 California Rhinoplasty 10:00 X
Flute [Nose Flute], Computer [Laptop (hyperprism)], Sequenced By [Sequencing] - M.C. Schmidt*
Recorded By [Location Recording], Sampler, Sequenced By [Sequencing], Edited By [Digital Editing], Mixed By - Drew Daniel

Recorded at home.

Track 1: liposuction surgery recorded in California utilizing Bard Parker's Scalpels, Draeger Anesthesia Ventilators and Gramm's Medical Liposuction Equipment.

Track 2: refractive eye surgery (laser in situ keratomileusis) performed on Monica Youn and recorded in San Francisco.

Track 3: audiologist Rebecca Highlander, CCC-A reads a list of phonetically balanced words. Recorded in the hearing test booth at the Jean Weingarden Peninsula Oral School for the Deaf. Beeps and tones generated during the response curve testing of hearing aids.

Track 4: composed entirely from sounds generated while measuring the galvanic response of Martin's skin to a constant flow of electricity.

Track 5: composed entirely from the plucked and bowed cage of our rat Felix.

Track 6: composed entirely from samples of human skull, goat spine and connective tissue, and artificial teeth.

Track 7: with the exception of the nose flute, this is composed entirely from recordings of plastic surgeries performed in California: rhinoplasty, endoscopic forehead lift, chin implant.

John Cage (1912-1992), Avant-Garde Composer

2010-02-17T08:48:00.000-08:00

Piano Sonatas for Prepared Piano

27 sounds manufactured in a kitchen

Sound Project, Interesting and Contemporary pieces

2010-02-17T08:24:00.001-08:00

Matmos

This artist layers recording of Buddha Boxes which are small generative noise devices that loop small musical phrases. The end result is an extremely dynamic texture of sound resulting from relatively simple and low fidelity sources.

Bjork

Bjork : Triumph of a Heart (Medulla Album)
http://www.contactmusic.com/videos.nsf/stream/bjork-triumph-of-a-heart-album-version

Craig Shields

2010-02-16T06:55:00.000-08:00

http://www.behance.net/surpy

Craig Ward Typography Artist

2010-02-11T09:08:00.000-08:00

http://www.behance.net/wordsarepictures

http://www.graphic-design-blog.com/2009/12/craig-ward-typography.html

Radim Mlinic

2010-02-11T07:53:00.000-08:00

I thought that this artist's art work looked really cool, and it looks like he's really in the business and is already producing images for ads and product labels. ~Kaylynn Jones

Eric Gill

2010-02-11T07:51:00.000-08:00

Here is the website for Eric Gill.

http://www.ericgill.com/

Graphic Designers

2010-02-11T07:18:00.000-08:00

Mark Weaver

http://mrkwvr.com/

Igor Udushliv

http://www.icoeye.com/blog/?p=125

Cristiano Siqueira

2010-02-11T07:17:00.000-08:00

Theo Aartsma

2010-02-11T07:13:00.001-08:00

"Jumps" - Kaylynn Jones

2010-02-09T07:10:00.000-08:00

Michele Dekker_rasterexercise

2010-02-09T07:04:00.000-08:00

Nature and man working together to improve our technology for Earth and space.

Life Science

2010-02-09T07:03:00.000-08:00

I thought about doing this all the time when I was an architecture student. These pictures were taken from the Life Sciences tower and surrounding areas. I really wanted to play with the angles of perspective, which I think I did fairly well with the exception of the "falling" part, which was difficult to fit with the change from looking outward to looking almost straight down.

Harbour Bridge

2010-02-09T07:01:00.000-08:00

Family Photo

2010-02-09T06:55:00.001-08:00

Family Photo - taking two different pictures from to moments in time. Making it seem like me and my brother grew up together as siblings closer in age rather than our actual 11 year gap.

Yankee Stadium by Alain Pierre

2010-02-09T06:55:00.000-08:00

Gaming All Day

2010-02-09T06:53:00.000-08:00

I wanted to convey a whole day going by of just playing games. By taking the background pictures at night and also by taking most of the foreground pictures during the day. The outline is a little obscure, but that was intentionally to show the depth of the apartment and to convey more of the background as a background, instead of a flat image; I also showed depth with putting in most of the ceiling and ground. If you will see I made parts of my boyfriend transparent to convey a sense of past, time passing.

Magic tree Dave Moreno

2010-02-09T06:52:00.002-08:00

Cacaw!

Downtown Seattle

2010-02-09T06:52:00.001-08:00

This is downtown Seattle taken from the Space Needle. There are 5 different pictures taken, by me, from around the tower. I have added some buildings taken at night as well as building dated back in the 1920's.

Michele Dekker

2010-02-09T06:51:00.000-08:00

"Preoccupied" by Gillian Tomimbang

2010-02-09T06:26:00.001-08:00

Random by Luis G.

2010-02-08T23:21:00.000-08:00

Hmmm, how can i say this, well this is actually the second work for this project, i was actually working on a building from downtown phoenix but it all went down the drain when i forgot to save my work, and decided to work on this. I took over 35 pics here different days but i didn't put all 35 pics in this project, my friend actually decided this location for me. Other than that im still learning photoshop as i write this so i believe this can be improved over time. But im satisfied with the time i spend on it.

"Innovation" Luis Hernandez

2010-02-08T22:08:00.000-08:00

This image is of Rodney Mullen when he was younger. I wanted to do the trick myself but didn't have my board. It simply shows several snap shots put into one and depicts movement in one image. Enjoy.

2010-02-08T14:36:00.000-08:00

2010-02-08T14:32:00.000-08:00

UNIT2: VECTOR EXERCISE

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Exercise: LETTERFORM COMPOSITION.TOTAL POINTS: 100

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Objectives:
Technical: To learn the basics of vector-based software (Adobe Illustrator).
Conceptual: To explore the use of type as abstract shape, and to investigate how
framing creates and defines positive and negative space.
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Overview: You’re challenge is to create a dynamic, abstract composition that incorporates deliberate use of positive / negative space using only simple letterforms (type).
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Materials: Computer and vector-based software (Adobe Illustrator).

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Process:
1. Listen intently to the lecture on Type, Framing, and Positive / Negative Space.

2. Launch Illustrator and create a new document (FILE >> NEW) that is 10 in. x 10 in.

3. Using the Type Tool, explore the different type faces (fonts) available, looking
specifically for font/letter combinations with interesting shapes, curves, lines, etc.

4. Once you’ve chosen the letter(s) you want to work with, convert it to outlines by
selecting it with the Selection Tool (solid arrow), and by choosing “Create Outlines”
under the “Type” menu.

5. Using your 10 x 10 inch document boundary as a frame, experiment with different
framing solutions by altering the letter’s scale, rotation, and placement. Pay special
attention to the positive / negative relationship that your framing choices create.
Also consider what reversing the colors of your positive / negative space will do to
the composition (white on black or black on white).

6. When you feel like your composition is coming together, solidify your design by
creating a clipping mask.
A. Use the Rectangle Tool to draw a square the same size as your document.
B. Select everything by choosing “Select All” under the “Select” menu.
C. Finally, choose “Clipping Mask >> Make” under the “Object” menu.
You can continue to modify your composition’s scale, rotation, and placement even
after the clipping mask has been made.

7. When satisfied, save it as an Adobe Illustrator (Ai) file in the VECTOR EXERCISE FOLDER. Then save out a GIF copy of your composition :
A. File >> Save for Web and Devices.
B. For file type, select GIF from the dropdown menu.
C. Uncheck the box next to “Transparency.”
D. Under the “Image Size” tab, check “Clip to Artboard” and hit “Apply.”
E. Click “Save.”
F. Upload your gif file to the class’ blog.

2010-02-04T08:32:00.001-08:00

SkatePunk

2010-02-04T07:00:00.000-08:00

Some fag (me) skating around ASU. There are a lot of obvious photo edges and clippings at first glance, but then you will also notice many interesting twists that seem real but are in fact not, or are real when you first thought they weren't...lol just look, if you're never skated before, it'll give you insight into how a skater would "research" his surroundings.

2010-02-02T07:30:00.001-08:00

Self Portrait?

2010-01-28T08:00:00.001-08:00

Ridiculous self portrait. Experimented with a few different Photoshop tools. Didn't have enough time to work with the edges (original background was white, but looked bland).

alain Pierre

2010-01-28T07:27:00.000-08:00

Ummm...okaaay...

2010-01-28T07:22:00.000-08:00

So this is what happens when my mind wanders on photoshop. My apologies to you all, especially these two gentlemen and Mr. Tom Cruise midget in the corner. No one except my own pride was hurt in the making of this image.

2010-01-28T07:12:00.001-08:00

Trying to illustrate mans consumerism using something silly suck as Lincoln Logs to show how silly our wastefulness of our earth limited resources is.

Sesame Street is Racist.

2010-01-28T07:11:00.000-08:00

Everyone knows Sesame Street bashes on homosexuals and the lower class (recall Bert/Ernie, Oscar). However, during a project on children's TV shows last semester, I also stumbled upon some pretty blatantly racist comments against African Americans by the Cookie Monster (seriously). This image shows said Cookie Monster biting an LP from an African American artist. Clearly, Ray Charles is horrified.

Note: I began this project late and unaware of the "nature" theme. However, racism deals with human nature. Close enough.
Edit: Made the collage even more ridiculous.

Melissa Adkins

2010-01-28T07:09:00.001-08:00

Meaning: Nature is slowly trying to take back the earth. But it is only moderately taking it back, through the ashes and rain. I took the flower from one picture and the squirrel and grass from another. I also made the background black and white, from a color picture.

Alain Pierre

2010-01-28T07:04:00.000-08:00

Every were humans exist there seems to be some type of controversy and corruptions leading up to war. What If humans didn't exist? Would monkeys have all the heavy artilleries because they are the most related?? Or would the bird species be the most dominant because they can do things other animals can't??

David Moreno, Doom Kitchen

2010-01-28T07:03:00.000-08:00

Hippo Flies!

2010-01-28T06:58:00.002-08:00

Oh yes fairies are real, they most certainly do exist...only they aren't quite what you thought. A little more "voluptuos" would be a polite way of putting it...

-Chris Clark-

Luis Hernandez

2010-01-28T06:58:00.001-08:00

My goal was to depict how due to technology, mainly in animation, people can sometimes get lost in it and not tell the difference between reality and fantasy. Fantasy being defined in this image as environments created by computer animation.

Temple Raster Exercise

2010-01-28T06:55:00.001-08:00

I decided to put 2 different nature scenes together. The one picture is of a canyon and it has no water in it but lots of trees. Another picture I cut the water out and pasted it to the canyon picture to make this picture seem like the canyon has a waterfall and some water flow.

Kaylynn Jones

2010-01-28T06:45:00.001-08:00

"Reproducing Nature"

This is to show how we humans are always trying to reproduce or duplicate nature. Constantly trying to make things better, bigger or more frequent. This also shows how many similarities our technologies have with nature's designs. like wires to plant stems and branches and leaves to solar panels.

Gillian Tomimbang

2010-01-28T06:32:00.002-08:00

Idea: Children and their boundless imagination.

Layers: Space background, grassland, and children.

2010-01-27T21:29:00.000-08:00

UNIT1: RASTER PROJECT. TOTAL POINTS: 100
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Exercise:    TIME AND PLACE. DIGITAL PHOTOMONTAGE.
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Objectives:

Technical: Technical: To gain a basic understanding of raster based digital imaging software and the technology, terminology, and techniques associated with it.

Conceptual: Conceptual: To explore the concept of time and place using photomontage as a method of compressing time into one seemingly single moment.
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ _ _
Overview: How many ways can you visually represent a place? Is it possible to show all sides of a building in one photograph? How does the passage of time change a given place? How much time muss pass before you can measure change? Seconds? minutes? hours? days?
For this project your challenge will be to use digital photomontage to create the portrait of a place over a period of time. The place and the spam of time are up to you, it could be ten hours or it could be two days
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
References

www.bideford.devon.sch.uk/art/gcse07/viewpoints/slides/photo%20montage%20by%20david%20hockney.html" http://www.bideford.devon.sch.uk/art/gcse07/viewpoints/slides/photo%20montage%20by%20david%20hockney.html   (David Hockney)

http://hockneypictures.com/" http://hockneypictures.com/

http://filippotagliati.com/home.html" http://filippotagliati.com/home.html

http://ethertongallery.com/html/archive/gallery/enduringlandscape/index.htm

http://ethertongallery.com/html/archive/gallery/enduringlandscape/index.htm   (Mark Klett and Byron Wolfe)
http://www.cambridgeincolour.com/tutorials.htm" http://www.cambridgeincolour.com/tutorials.htm Great Photoshop Tutorials
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Vocabulary: Raster, Pixel, DPI, Resolution, Color Mode, RGB,CMYK, Bit Depth, Histogram, Levels, Curves, JPG, GIF, TIFF, Interpolation, Layers, Adjustment Layer, Layer Mask, Photomontage.
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Materials: digital camera with necessary cables, Computer with Adobe Photoshop.A tripod and cable release for your camera may be helpful.
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Process: 1. Find a place that is interesting or important for you that may have been documented in the past. Do some research, go to the library, search the internet. Look through periodicals and magazines, books, photo archives, newspapers, your own family photographs. For this project you are highly encouraged to use your own images, but also appropriated and found pictures. Look for high resolution images or scans (300 ppp).Most images found in the internet will not work, as they are not sufficient resolution.
Also consider locations that vary greatly with time: Mill Avenue Saturday night versus Sunday morning. The MU on Monday versus a Saturday.

2. Go to your location, spend some time exploring it. Make some decisions about how you want your final piece to look.Is it best photographed from one single point of view or from many? Do you want your final piece clear and seamless or jagged and distorted? Do you need a tripod? If you are working with found images, try to find the exact spot from where the original photo was taken

3. Shot shot shot, take lots of pictures. It’s always better to have to many images that not enough . Shoot from a single location or from many locations. All the while keeping in mind how your “pieces” will fit together.Bring a notebook and make a sketch out your scene as you photograph.

4. Let some time pass, hours, days, return to your location and shoot some more. When returning to your location is necessary the exact spot you shot from last. If you can , you may mark the spot in some way. When you return to your location, what has changed? Has the way the location is used changed with time? Has the color and the direction of light changed? Seek out and emphasize the changes you find.
5. Transfer your images to your external hard drive at home, or bring your camera, memory card, and transfer cables to class with you. If you have a memory card reader for your camera bring it too.

6. Working in Adobe Photoshop, create a blank document that is approximately 11x14 inches ( vertical or horizontal) at 300 dpi. Use the RGB color space and a bit depth of 8. FILE >>SAVE your new document to your external media storage device. You must work off of your own storage media (not the desktop of the lab computers).SAVE your work often!

7. Using layers and adjustment layers combine your parts into one final, piece.Depending on how well you photographed your location, you may need to rotate or distort your individual photo to make things “fit”. In some cases things may never correctly “fit”. Remember you are not really constructing reality, but your interpretation of that reality.

8. When complete drop your full resolution layered PSD file into the class folder, and keep it for your records in your own external storage. Name it like this: lastname_rasterproj.psd (the psd extension will be automatically added when you save the file in that particular format, you don’t have to type it).
Then size your image down to 1000 pixels (in the widest direction) at 72 dpi. (lastname_rasterproj.jpeg). IMAGE > >SIZE. Then save your file as a JPEG into the class folder. BE CAREFULL NOT TO SAVE OVER YOUR FULL RESOLUTION PSD FILE!. Finally, upload your jpeg image to the class’ blog.

Total points possible: 100

Technical: Did you use the resolution, bit- depth, and color mode assignment called for? Are your photographs properly exposed? Are there examples of poor digital craftsmanship?

Exemplary:40
Solid:34
Passing:30
Poor:26
Failing:24

Aesthetic: Is your final piece compositionally balanced? Did you make good use of value and color? Does your piece lead the viewer’s eye?

Exemplary:30
Solid:26
Passing:23
Poor:20
Failing:18

Conceptual: Is your choosen location significant? Does your piece address the issue of time and place? Does it convey a meaning that couldn’t otherwise be captured in a single image? Is the “whole more than the sum of its parts?

Exemplary:30
Solid:26
Passing:23
Poor:20
Failing:18
Due Dates

Working progress: February 2

Finished project: February 9

2010-01-27T21:11:00.000-08:00

CRITIQUE GUIDELINE/ RASTER EXERCISE.

ART 194 INTRO TO DIGITAL MEDIA
INSTRUCTOR: Maria Teresa Miró

These are some of the things you should be noticing while viewing/experiencing the exercises made by your classmates, or any similar piece you might encounter in the future.

What images do you see?

What qualities are making those images more noticeable?

Do the images have the appropriate resolutions?

Are they combined in a final believable scene?

Is the whole more than the sum of the parts?

Is the final piece compositionally balanced?

Are there interesting angles or thought-provoking subjects?

Does the piece lead the viewer’s eye?

Is the composition of the image meant to intensify a feeling or emotion? What emotions?

What do you think it means? Why do you think so?

How does it make you feel? Why does it do that?

What is the most original or creative thing you see?

What open question does the work suggest to you? (state it in positive or neutral terms - no negatives)

What do you wonder about? (state it in positive or neutral terms - no negatives)

Is this art? Why?

During critique you should pay extra attention to the following:

- Remember that we are not judging.
- You should describe, analyze, and interpret the images or works, and it’s not useful to express your opinion just in terms of likes or dislikes.
- A critique is meant to help; therefore phrases such as; “I do not like _____” “You should have changed, added, removed____” “I do not understand what that means_______________” are not constructive critiques. Please don’t use this kind of phrases , or any other similar, and express your opinions in a constructive way.
- State what you see in non-derogatory terms

Luis G

2010-01-26T09:27:00.001-08:00

My idea here is a world out of space, so i believe its a non reality in my opinion, i used 4 pics total.

Luis Hernandez

2010-01-26T09:21:00.000-08:00

Simply played with the opacity and cropping tool. Also tampered with the brightness and contrast. Nothing special :)

Melissa Adkins

2010-01-26T09:20:00.000-08:00

I like to make colors vibrant and very noticeable.

Joe Temple

2010-01-26T09:18:00.000-08:00

David Moreno

2010-01-26T09:16:00.001-08:00

kwquytoiqwuytwoe

2010-01-26T09:14:00.001-08:00

2010-01-26T09:14:00.000-08:00

JOAN FONTCUBERTA

2010-01-20T16:06:00.000-08:00

A Spanish Tv Show presents a Fiction work of the Photographer Joan Fontcuberta (named : "Fundación Sputnik") as if it were a documentation of a real event that happened in the Soviet Union.

Picture of the photographer Joan Fontcuberta.

Photographer Gregory Crewdson

2010-01-20T15:31:00.000-08:00

2010-01-20T15:10:00.000-08:00

UNIT1: RASTER EXERCISE
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Exercise:    MAN VS. NATURE, ORGANIC VS SYNTHETIC
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Objectives:

Technical: To gain a basic understanding of raster based digital imaging fotware and the technology, terminology, and tecniques associated with it.

Conceptual: To create a seamless, unified image that attempts to reconcile opposing of divergent ideas. Using the possibilities of digital montage, create han image that attempts to challenge our ideas of photography as truthful portrayal of reality.
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Overview: Your challenge is to use Adobe Photoshop to combine at least three separate photographic images into one final composition that expresses a specific idea about the intersection of the natural world, and the Man-made world.
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References:
http://www.uelsmann.net/" http://www.uelsmann.net/
Artist Jerry Uelsmann

http://www.lorettalux.de/" http://www.lorettalux.de/    Artist Loretta Lux

http://www.edwardburtynsky.com/" http://www.edwardburtynsky.com/ Artist Edward Burtynsky

http://www.cambridgeincolour.com/tutorials.htm" http://www.cambridgeincolour.com/tutorials.htm Great Photoshop Tutorials
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Vocabulary: Raster, Pixel, DPI, Resolution, Color Mode, RGB,CMYK, Bit Depth, Histogram, Levels, Curves, JPG,GIF,TIFF,Interpolation,Layers,Adjustment Layer,Layer Mask
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Materials: digital camera with necessary cables, Computer with Adobe Photoshop.

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Process:

1. Read chapter 5 on cultivating Creativity , pages 110-117, in your text, Launching the imagination, by Mary Stewart.
Take a look at the referenced websites.

2. On a sheet of paper, brainstorm ideas about the Man-made world and what role human beings play the natural world. Is our presence in the world for the better or the worse? In what ways is our influence seen on the natural world?

3. Take your best ideas and create a quickly thumbnail sketches. Which idea would translate most easily into a simple still frame piece? Which idea do you personally have the means to bring to reality (can you find and photograph all the “parts” of the composition)? Which idea de you personally feel the strongest about?

4. Take your single best concept and make a loose sketch. This will help you work out basic compositional problems, and make sure you know which “parts” you’ll need to create or photograph.

5. Use a digital camera to start getting the pars of your final composite image. You can also use digital images that you have preciously downloaded or scanned. Things to think about: Is it your lighting consistent? Is your perspective consistent? Is your color balance consistent?

6. Working in Adobe Photoshop, create a blank document that is 8x10 inches ( vertical or horizontal) at 300 dpi.FILE>>SAVE your new document to your external media storage device. You must work off of your own storage media (not the desktop of the lab computers). Remember to SAVE your work often!.

6. Using layers and adjustment layers, combine your parts into one final, believable image.

7. When complete drop your full resolution layered PSD file into the specific class’ folder for this Unit (UNIT1 RASTER EXERCISE). Then size your image down to 800 pixels (in the widest direction) at 72 dpi (IMAGE>>IMAGE SIZE>> or use the crop tool). Use FILE>>SAVE FOR WEB AND DEVICES to save a copy of your image as jpeg. Name your exported file as: miro_rasterexer.jpg.

8.Upload your resized file (jpeg) to the class’ blog. Keep your original layered PSD file for your records.

Grading Rubric
Total points possible: 100

Technical: Did you compose two or more images into one believable scene? Did you use the resolution, bit- depth, and color mode assignment called for? Are there errant pixels,mismatched shadows, or other examples of poor digital craftsmanship?

Exemplary: 40
Solid :         36
Passing:      30
Poor :          26
Failing:       22
Aesthetic: Is your final piece compositionally balanced? Did you make good use of value and color? Does your piece lead the viewer’s eye?

Exemplary: 30
Solid :           27
Passing:        23
Poor :           20
Failing:      16
Conceptual: Does your final piece address the theme in a clever or meaningful way? Is the “whole more than the sum of its parts?”

Exemplary: 30
Solid :           27
Passing:        23
Poor :           20
Failing:      16
Due Date: Tuesday 26

LIVE ART PLATFORM

2010-01-20T13:57:00.000-08:00

Hello Class

Check the link of the Live Art Platform blog, it´s a great opportunity to show your work!

"The Live Art Platform provides a venue for artists of all disciplines to present their work in front of an informal audience of mostly students, faculty, and adventurous members of the Arizona State University community. We are an experimental laboratory providing artists with a friendly environment in which to try out works-in-progress, completed pieces, or performance experiments.

LAP is hosted by the Intermedia program in the School of Art at the Herberger Institute for Design and the Arts at Arizona State University. We encourage everyone to participate: ASU students, faculty, staff, as well as members of the broader Tempe, Phoenix, Scottsdale community.

There are no audition requirements, no curators, or professors screening the works."

If you wish to participate all you have to do is send an email to the following address:

liveartplatform@gmail.com.

2010-01-18T16:22:00.000-08:00

UNIT 0: INTRO EXERCISE
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Exercise: CLASS HEADSHOT/PHOTOCORRECTION

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Objectives:

Technical: To learn the basics of digital image editing as well as gain an
understanding of web servers and FTP software.

Conceptual: To explore the idea of using a simple “headshot” photograph as a
means of expressing ones personal identity or state of mind. To create your artist’s profile picture.
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Overview: Can a simple headshot communicate more than just your likeness? For this exercise
you challenge will be to use basic Photoshop adjustments (Contrast, Brightness,
Saturation, Crop, etc.) to strengthen and to impart a sense of your personal identity on
to a simple photographic headshot.
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References: "http://www.behance.net/" http://www.behance.net/
http://www.spraygraphic.com/People/0/4.html
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Vocabulary: File Transfer Protocol (FTP), Contrast, Saturation, Hue, Framing, Crop.
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Materials: Digital Camera (provided), Computer Lab
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Process:
1. As a class, line up for an assembly-line style photo shoot. Everybody will take a
photograph of the person in front of him or her. Then pass the camera (very carefully)
to the person behind you so that they make take a photograph of you.

2. When all have had their photo taken, the instructor will upload the photos to the
class folder so that everyone can access them from their computers.

3. Locate your headshot, and open it up in Adobe Photoshop. You might have a look to artist’s profile pictures for inspirational purposes.

4. Try to “improve” upon the photo by making minor adjustments under the IMAGE /
ADJUSTMENTS menu. Suggestions are to adjust BRIGHTNESS / CONTRAST, HUE
/ SATURATION, and COLOR BALANCE. Experiment with using color, framing,
contrast, etc. as visual devices that help express your personal identity.

5. When finished with your adjustments, crop and size your photo to 120 x 120 pixels
at 72 dpi. Save out your photo by going to FILE >> SAVE AS and saving it in jpeg
format at a quality setting of 8. Name your file using the format
(Firstname_Lastname.jpg). So, if your name is John Smith, name your file
“John_Smith.jpg” (note the use of an underscore, not a space).

6. With the information provided by the instructor, upload your
headshot file to the class’ blog.

Basic Glossary

2010-01-18T16:12:00.000-08:00

a
additive colors: Colors made by lights which, when mixed, become lighter in value. The three additive primary colors are Red, Green, and Blue (typically found in color television and video).

additive process: Any method in which material is "added" together to create a sculptural form, e.g., clay coil pots, wooden blocks glued together, steel sculpture welded from multiple steel plates, etc.

Anderson, Laurie: A performance artist/musician known for her installations, albums, and multi media performances. Anderson works in a variety of media, including film, electronic and acoustic music, slides, costumes, and other effects. Read some text to one of her songs. See also HYPERLINK "https://webmail.asu.edu/servlet/edu.asu.wmac.emma.servlets.AfsMgr?CURDIR=%2Fafs%2Fasu.edu%2Fwww%2Fcfa%2Fwwwcourses%2Fart%2FSOACore&ACTION=FILE&FILE=/glossary.htm" \l "performance" Performance Art. HYPERLINK "http://catalog.lib.asu.edu/search/d+anderson.+laurie+/1,4,7,B/frameset&dAnderson+Laurie+1947&3,,4" Video available from ASU Media Services

after-image: The illusion of color and shape produced in the visual apparatus after staring at a stong color (hue) for some time. A positive after-image is the same color as the original; a negative after-image is its complement. See successive contrast.

analogous hues: Colors lying next to one another on the color wheel. Normally analogous colors are three adjacent colors--such as red, red-orange, and orange. Some textbooks use four or even more.
aniline dyes: A family of colorants synthesized from coal-tar, including reds, black, greens, and blue-reds.

atmospheric perspective: The optical illusion that areas closer to the viewer are sharper in detail, color intensity, and value contrast than areas farther away. "In many atmospheres, everything will take on a blue cast" (Zelanski).

azo dyes: A large family of colorfast, highly saturated, synthetic colorants developed from petroleum (Zelanski).

b
balance: In 2D art, the equal distribution of "visual weight" across the picture plane. In 3D art, physical and visual equilibrium.

bas-relief: A french term meaning literally "low relief". In a low relief the image projects only slightly from the background plane.

bauhaus: Influential German art and design school that was founded in Dessau between the two world wars, 1919 - 1933. Industrial potentials were to be applied to satisfactory design standards, regarding both functional and aesthetic aspects. The Bauhaus workshops produced prototypes for mass production: from a single lamp to a complete dwelling. The Bauhaus faculty included Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl and Oskar Schlemmer, among others. For the history of the Bauhaus, go to the following URL: HYPERLINK "http://www.bauhaus.de/english/bauhaus1919/vorgeschichte1919.htm" http://www.bauhaus.de/english/bauhaus1919/vorgeschichte1919.htm

Benjamin, Walter: Important writer/theorist associated with the Frankfurt School. Wrote many influential essays including HYPERLINK "http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm" "The Work of Art in the Age of Mechanical Reproduction" in 1936.

Bezold Effect: The possibility of changing a design considerably by simply changing one of its colors (for example, changing a white background thread to a black thread). The effect was discovered by a rugmaker named Wilhelm von Bezold in the nineteenth century.

broken color: Layers of different colors applied to a painting so that they show through one another (in contrast to colors physically blended on the palette or on the canvas).

Boccioni, Umberto: Italian Futurist, 1882-1916. See HYPERLINK "http://www.guggenheimcollection.org/site/artist_bio_18.html" http://www.guggenheimcollection.org/site/artist_bio_18.html

c
calligraphy: 1) beautiful handwriting, fine penmanship. 2) a script, usually cursive, esp. Chinese, Japanese, or Arabic writing of high aesthetic value. 3) a line or a group of lines that either are derived from or resemble cursive letter forms produced with a brush.

casting: see also "substitution" method. Any molding technique that allows a sculptural form to be translated from one material into another. Molds are taken off of an original sculpture and the resulting "negative space" can be filled with another "castable medium" such as plaster or wax. More sophisticated casting methods require metal foundry equipment such as furnaces and crucibles in order to heat metal up to its liquid state for pouring into specially constructed molds made of "refractory" materials (sand and plaster mixed together is one such traditional material).

chiaroscuro: The use of light and dark values to imply depth and volume in a two-dimensional work of art (Lauer).

chromatic hue: Any color other than black, grays, and white.

chromaticity: In lights, a measure of the combination of hue and saturation in a color (Zelanski).

Chromaticity Diagram: The plotting of bue and saturation coordinates on a two-dimensional grid (Zelanski).

chrominance: In television and video, a signal indicating both hue and saturation (Zelanski, Collins).

chromotherapy: The use of colored lights for healing purposes (Zelanski).

CMYK: The four-color screen system or process colors (cyan, magenta, yellow, and black) commonly used in reproducing "four color images" such as color photographs and color silkscreens (serigraphs) (Zelanski, Collins).

coherent light: Theoretically, light in which the waves are all of the same length and in unchanging relationship to each other, as approximated by a laser beam (Zelanski).

collage: A two-dimensional work of art in which found objects, generally 2D, are glued to a flat surface (Zelanski, Collins).

collodion: A transparent syrupy solution of pyroxylin (a nitrocelluose) dissolved in ether and alcohol.
The collodion process was used as the basis for photographic emulsions in the wet-plate process starting in 1851. It was popular until the development of the gelatin dry-plate some 30 years later. It was more light sensitive than either the daguerreotype or the calotype allowing for exposure times as short as five seconds. (Upton, Collins)

color constancy: The psychology tendency to see colors as we think they are rather than as we actually perceive them (Zelanski).

Color-Field painting: A style of painting originating from the mid-twentieth-century New York School featuring large, nonobjective areas of color (Zelanski).

colorimeter: A computerized instrument that measures the amount of power in each wavelength in a light source. See spectrophotometer (Zelanski).

color management: In computerized processes, attempting to hold colors the same no matter in what medium they are displayed or printed (Zelanski).

color negative process: In color print photography, the activation of dyes in the film to release colors that are complementary to those in the original scene. A positive print in the original colors of the scene is then printed from this color negative (Zelanski).

color positive (reversal) process: In the creation of color transparencies, a series of steps which culminates in the release of magenta, cyan, and yellow dyes in the film's three layers. These mix to form the colors of the original when the developed film is seen in the light (Zelanski).

color separation: In printing, colored images are broken down into screens of certain primaries (in a four-color process they are magenta, cyan, yellow, and black) which when superimposed and printed will yield an approximation of the original colors (Zelanski).

color wheel: A circular, two-dimensional model showing color relationships, originating from Sir Isaac Newton's bending of the straight array of spectral hues into a circle (Zelanski).
compositing: Compositing is the combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. Live-action shooting for compositing is variously called “blue screen,” “green screen,” “chroma key,” and other names. Today, most though not all compositing is achieved through digital image manipulation. Pre-digital compositing techniques, however, go back as far as the trick films of Georges Méliès in the late 19th century; and some are still in use. (Wikipedia).

cones: Special cells in the retina at the back of the eye which enable us to distinguish hues in the daylight (Zelanski).

continuous tone: In printing, referring to any image with a range of gradually changing values (Zelanski).

critical color matching: The precise mixing of pigments or ink dyes to match a given sample (Zelanski).

cross-hatch: to "hatch" or shade by using overlapping, roughly perpendicular sets of parallel lines (Collins).

crow-quill: a very fine nibbed ink pen (Collins).

d
depth cues: visual devices that suggest the illusion of space within the two-dimensional picture plane. Examples include overlap, relative size, vertical location and others.

diagonal: suggesting an oblique direction--neither horizontal nor vertical.

Duchamp, Marcel: French artist, 1887-1968. Considered by many to be the father of conceptual art. Invented the "ready made." Two of Duchamp's most famous works include Nude Descending a Staircase, #2 (1912) and The Bride Stripped Bare of Her Bachelors, Even (The Large Glass) (1915-23).

e
Eisenstein, Sergei (1898-1948): Russian film director and film theorist. He directed the all time great film on the Russian revolution, Potemkin (1927).

entropy: the theory that closed systems tend towards disorganization. All organized systems--be they sand castles or solar systems--tend to become less ordered and have less available energy over time.

f
figure: the primary or positive shape in a design; a shape which is noticeably separated from the surrounding ground or negative shape. The figure is the dominant, advancing shape in a figure-ground relationship.(Mary Stewart, University of Northern Illinois)

figure/ground reversal: an arrangement in which positive and negative shapes alternatively command attention. Also known as positive and negative interchange.(Mary Stewart, University of Northern Illinois)

Finley, Karen: Performance artist who was defunded by the NEA for the objectionable content of her work. Subsequently she sued the government.

format: 1) the orientation of the picture plane (horizontal--"landscape", or vertical--"portrait"). 2) in photography, the type of film used (e.g., 35mm, 4 x 5, etc.). 3) In film and video, the "aspect ratio" (proportion of height to width) of the frame. 4) In computers, the way in which information is encoded on a given storage medium. 5) In book arts, the shape and size of the book depending on the number of times the original sheet has been folded (e.g., octavo, quarto, etc.).

found object: an object that is literally "found" and not manipulated in any way.

frame: the borders that define the edges of a composition.

Futurists: Futurism is a style of fine arts developed originally by a group of Italian artists about 1910 in which forms derived chiefly from Cubism were used to represent rapid movement and dynamic motion.

g
geologic time: the succession of eras, periods, and epochs as considered in historical geology.

Geologic processes--with the exception of climactic events such as volcanoes and earthquakes--generally occur so slowly as to be imperceptible to humans.

gesture: a movement of the body, head, arms, hands, or face that is expressive of an idea, opinion, emotion, etc.

graffiti: words or phrases written on public sidewalks, on the walls of buildings, public restrooms etc. or the like.

graffiti art: highly expressive painting that uses the vocabulary of street graffiti for aesthetic or expressive effect. Graffiti art often quotes the techniques of the street artist by using spray paint and highly personal signatures called "tags."

h
hatching: a series of lines, generally parallel, used in shading or modeling, as in drawing or cartography.

haut-relief: a French term meaning literally "high relief." A high relief is a sculptural relief in which deep cuts or three-dimensional forms project significantly from the background plane.

horizon: eye level.

horizontal: Lines parallel to the horizon.

i
icon: a picture, image, or other represenation. In art history, an icon is often a representation in painting or some other medium of some sacred personage, as Christ or a saint or angel, itself venerated as sacred.

iconoclast: literally, a breaker or destoyer of images. Also has come to mean one who attacks cherished beliefs, traditional institutions, etc., as being based on error or superstition.

iconography: symbolic representation, esp. the conventional meanings attached to an image or images. Also, subject matter in the visual arts, esp. with reference to the conventions regarding the treatment of a subject in artistic representation.

implied line: a series of points or other visual elements that suggest a continuous linear connection. Example: a dotted line is an "implied line."

inkblot: a symmetrical but otherwise abstract pattern of shapes created by folding liquid ink into the vertical fold of a piece of paper. The Rorschach ink blot test is a psychological projective test of personality in which a subject's interpretations of ten standard abstract designs are analyzed as a measure of emotional and intellectual functioning and integration. The test is named after Hermann Rorschach (1884-1922) who developed the ink blots, although he did not use them for personality analysis.

j
Janus:In Roman mythology Janus was the god of good beginnings, which, his followers believed, ensured good endings. He was also the god of doors and gateways. His principal temple in the Forum had doors facing east and west to greet the beginning and ending of the day, between which stood his statue with two faces gazing in opposite directions. As the god of good beginnings he was publicly invoked on the first day of January, the month that bears his name, as it marks the beginning of a new year.

k
Klett, Mark: American photographer (1952 - ) noted for his "rephotographic surveys" of the American West. See illustration from his "http://thirdview.org/3v/home/" "Third View" project comparing landscape images from the past 100 years. Klett is on the photo faculty at Arizona State University and is a Regents Professor.
"https://webmail.asu.edu/servlet/castlerock3.jpg" INCLUDEPICTURE "http://www.asu.edu/cfa/wwwcourses/art/SOACore/%20" \* MERGEFORMATINET

l
line: a moving point or mark. Geometry: an infinite number of connected points length, but without breadth or thickness.

lost wax process: a casting process in which an original wax sculpture, having been "invested" in a refractory mold material, is "lost" or evacuated from the interior cavities of the mold by heating the mold. Generally, the cavity is then filled with molten metal such as bronze or silver.

m
mark: the most fundamental element of visual construction.

medium: the material or technique with which an artist works. In painting, the liquid vehicle or "binder" in which pigment is mixed.

mold, n.: a hollow form or matrix for giving a particular shape to something in a molten or plastic state. A "waste-mold" is a mold used one time in casting an object. Re-usable, flexible molds can be made from natural rubber (latex) or synthetics such as Room Temperature Vulcanizing Silicon (RTV Silicone).

Muybridge, Edwaerd: Photographer know for his stop animation photography.

n
non-objective style: a method of making art that favors abstract, non-representational approaches. No "objective" reality is depicted.

o
orthogonal: pertaining to or involving right angles (90 degree angles).

p
performance art: A work of art where the live presence is necessary; either to witness or perform the piece.

photomontage: a two-dimensional work created from multiple photographic images or printed using multiple photographic negatives. Photomontage is the process (and result) of making a composite photograph by cutting and joining a number of other photographs. The composite picture is sometimes photographed so that the final image is converted back into a seamless photographic print. A similar method, although one that does not use film, is realized today through digital image-editing software. This latter technique is referred to by professionals as " HYPERLINK "http://www.asu.edu/cfa/wwwcourses/art/SOACore/glossary.htm" \l "compositing" compositing," and in casual usage is often called "photoshopping."

process art: artwork that emphasizes process over product.

proportion: a comparative relationship--a ratio--between things or parts of things. We can speak of the "proportions" of an object as distinct from its "scale."

psychic line: a mental connection between two points or visual elements in which no "actual line" or intermittent points is used. Example: the line between an archer's eye and the bulls-eye of a target.

q

r
ratio: a comparison often expressed as a proportional relation. The relative magnitude (scale, size, length, etc.) of the parts making up a larger whole. For example, the "ratio" of height to width of a rectangle measuring 1"h x 2"w could be expressed as 1:2.

representational style: a method of creating art that depicts external reality.

s
sampler: a collection of samples, or selections.

scale: generally used in art to refer to the "size" of something in relationship to some system of measurement.

selective framing: a type of compositional framing that is "selective" in what it includes or does not include.

silverpoint: a technique of drawing with a silver stylus on a specially prepared paper.

site-specific: a work that derives its meaning or inspiration from the context in which it is placed.

size: how big or extensive something is. We understand size by virtue of its relationship to something else through a process of comparison.

stippling: to paint, engrave, or draw by means of dots or small touches of the brush, pen, or other tool.

style: a particular, distinctive, or characteristic mode or form of construction or execution in any art or work.

stylus: any of various pointed, pen-shaped instruments used in drawing, artwork, etc. Also, the needle on various mechanical devices such as photographs and seismographs.

substitution method: any casting method in which one material is "substituted" for another.

substractive process: any method in which material is "subtracted" or removed from a sculptural form, e.g., carving, flame-cutting, sand-blasting, etc.

Sullivan, Louis: Turn of the century (19/20th c) architect credited with the dictum "form follows function." Teacher of Frank Lloyd Wright.

Sumi-e: Japanese brush painting. "Sumi" means "ink"; "e" means "painting."

t
thumb-nail (sketch): a small, quick drawing (not too much bigger than a thumb nail!) that explores an idea visually.

Tobey, Mark: American painter (1890 - 1976). Tobey's style blends a calligraphic, "Zen-like" paint handling with the vocabulary of Abstract Expressionism.
tokonoma: In a traditional Japanese house, a niche decorated to reflect the changing seasons

u
unity: a feature of good composition in which visual elements co-exist in a pleasing tension or harmony.

unity principles: grouping principles (direction, similar shape, gestalt, etc.) for achieving visual unity.

v
vanishing point(s): in linear perspective, the point or points on which all construction lines converge. In one and two point perspective, the vanishing points fall on the horizon line. In perspectival systems involving three or more vanishing points, the v.p's may fall off the horizon line. In a 3 point perspective rendering of a tall building, for example, the third point is often high above the horizon line.

vantage point: the position of the viewer/observer.

vertical: perpendicular to the horizon. Up and down.

virtual reality: An artificial environment created with computer hardware and software and presented to the user in such a way that it appears and feels like a real environment.

4 GB ASU FREE SPACE

2010-01-18T15:39:00.001-08:00

Hi!, in case you don't know:

If you go to http://www.asu.edu/myfiles , and you verify your ASU userID and password , you'll access to your 4GB free space. Once you are there, you can create a new folder and download your files there.

FILE EXTENSIONS

2010-01-18T15:37:00.001-08:00

File Type : .BMP Bitmap Image FileCategory Raster Image FilesFile Description Uncompressed raster image made up of a rectangular grid of pixels; each pixel is a different color (or level of gray for grayscale images), which together form an image; zooming in on a bitmap image will make it appear blocky since the size of each pixel increases.

File Type : .GIF Graphical Interchange Format FileCategory Raster Image FilesFile Description Image file that may contain up to 256 indexed colors; color palette may be a predefined set of colors or may be adapted to the colors in the image; lossless format, meaning the clarity of the image is not compromised with GIF compression.GIFs are common format for Web graphics, epecially small images and images that contain text, such as navigation buttons; however, JPEG (.JPG) images are better for showing photos because they are not limited in the number of colors they can display. GIF images can also be animated and saved as “animated GIFs,” which are often used to display basic animations on websites; they may also include transparent pixels, which allow them to blend with different color backgrounds; however, pixels in a GIF image must be either fully transparent or fully opaque, so the transparency cannot be faded like a .PNG image.

File Type JPEG Image FileCategory Raster Image FilesFile Description Compressed graphic format standarized by the JPEG (Joint Photographic Experts Group) group; commonly used for storing digital photos since the format supports up to 24-bit color; also a common format for publishing Web graphics; compressed using lossy compression, which may noticeably reduce the image quality if a high amount of compression is used.

File Type: .PSD Photoshop DocumentCategory Raster Image FilesFile Description Document created by Adobe Photoshop, the most commonly used professional image editing program; can include image layers, adjustment layers, layer masks, annotation notes, file information, keywords, and other Photoshop-specific elements. Supports RGB, CMYK, grayscale, monochrome, duotone, indexed color, Lab color, and multichannel color modes.

File Type: .TIF Tagged Image FileCategory Raster Image FilesFile Description High-quality graphics format often used for storing images with many colors, such as digital photos; short for “TIFF;” includes support for layers and multiple pages. TIFF files can be saved in an uncompressed (lossless) format or may incorporate .JPEG (lossy) compression; they may also use LZW lossless compression, which reduces the TIFF file size, but does not reduce the quality of the image.

File Type: .AI Adobe Illustrator FileCategory Vector Image FilesFile Description Vector image file created by Adobe Illustrator; composed of paths, or lines connected by points, instead of bitmap data; may include objects, color, and text; often referred to as a Illustrator drawing. Illustrator documents can be opened with Photoshop, but the image will be rasterized, meaning it will be converted from a vector image to a bitmap.

File Type: .AIF Audio Interchange File Format (Most common)Category Audio FilesFile Description CD-quality audio file, similar to a .WAV file; developed by Apple Computer, but based on the Electronic Arts .IFF format; standard CD audio AIFF files use a sampling rate of 44.1KHz, are 16-bit, and have two channels (for stereo sound).

File Type: .MP3 MP3 Audio FileCategory Audio FilesFile Description Compressed audio format developed by the Moving Picture Experts Group; uses “Layer 3″ audio compression; commonly used to store music files and audiobooks on a hard drive; may provide near-CD quality sound (stereo, 16-bit) in a file roughtly 1/10 the size of a .WAV or .AIF file. The quality of an MP3 file depends largely on the bit rate used for compression; common bit rates are 128 kbps, 160 kbps, and 192 kbps; higher bit rates result in higher quality files that also require more disk space. MP3 files are supported by most portable music players, such as the Apple iPod and Microsoft Zune; they can also be played on the Amazon Kindle; Symbian OS mobile phones can play MP3 files using the UltraMP3 program.

File Type : .WAVE WAVE Audio FileCategory Audio FilesFile Description Standard digital audio file format for storing waveform data; allows audio recordings to be saved with different sampling rates and bitrates; often used to save CD-quality audio. WAV (WAVE) files are similar to .AIF files, but they use a more complex format and are more common on Windows-based systems.

File Type: .MOV Apple QuickTime MovieCategory Video FilesFile Description Common multimedia format often used for saving movies and other video files; uses a proprietary compression algorithm developed by Apple Computer; compatible with both Macintosh and Windows platforms.

File Type: .MP4 MPEG-4 Video FileCategory Video FilesFile Description Movie or video clip that uses MPEG-4 compression, a standard developed by the Moving Picture Experts Group (MPEG); commonly used for sharing video files on the Internet. The MPEG-4 video format uses separate compression for audio and video tracks; video is compressed with MPEG-4 video encoding; audio is compressed using AAC compression, the same type of audio compression used in .AAC files.

File Type: .MPG MPEG Video FileCategory Video FilesFile Description Common video format standardized by the Moving Picture Experts Group (MPEG); typically incorporates MPEG-1 or MPEG-2 audio and video compression; often used for creating downloadable movies.

File Type: .HTML Hypertext Markup Language FileCategory Web FilesFile Description Web page coded in HTML that can be displayed in a Web browser; formats text, tables, images, and other content that is displayed on the page; HTML source code is parsed by the Web browser and typically not seen by the user. The raw HTML can be viewed by choosing “View Source” from the Web browser’s view menu or by opening the HTML file in a text editor.
Source: http://www.fileinfo.net/

PROJECT´S TERMINOLOGY

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Project’s Terminology

-Objectives: The technical and conceptual requirements for the project.

-Overview: A more detailed explanation of the project including what type of software you will be using etc.

-References: useful web sites where you might find ideas, inspirations, and/or tutorials that will help you improve your technical and conceptual skills.

-Vocabulary: terminology you will need to understand by the end of the assignment.

-Materials: software and hardware (and maybe other things) for the execution of the project.

-Process: Step by step procedures for the assignment.Grading Rubric: Detailed explanation on how the project will be graded.

-Due dates: Deadlines and such-work in progress: the instructor will review the progress of your project.

- project due: CDs with final project will be handed to the instructor at the beginning of class.- Online/Blog critique: all comments and responses must be posted by the specified date.

IDM194 Miró Teresa Syllabus

2010-01-18T15:26:00.000-08:00

Intro to Digital Media
_____________________________________

Instructor: Maria Teresa Miro Martin
Course Number: ART 194 #22054
Class Meeting: T/Th 7:40-10:30 am Spring 2010
Location: Art Building, Room: 301
Credits: 3
Office Hours: (by appointment) Th 2:00 – 4:00 pm
Office: Tower A 105
e-mail: tmiromar@asu.edu , tmiromartin@gmail.com
School of Art / Arizona State University

Course Description

ART 194, Intro to Digital Media, is a studio course that concentrates on the basics of digital media, including imagery, sound, video, animation, and the web. Assignments are given to engage students in the technical, conceptual, and aesthetic aspects of digital media. Students will employ a diverse range of techniques and software, as they become familiar with contemporary artistic processes involving the use of the computer and/or other technologies. The class will consist of hands-on experimentation and production supplemented by slide lectures, videos, visiting artists, and academic research.

This course may be substituted for the Art Major requirement of ART 113, Color, for Intermedia and Digital Art majors. All other majors require a petition to substitute this course for ART 113, Color. If you have already taken ART 113, Color, this course may be counted as an art elective. However, keep in mind it is a 100-level elective. Please see your academic advisor for more specific information.

Course Text/References

The recommended text is Launching the Imagination: A Comprehensive Guide to Basic Design, by Mary Stewart (Third Edition) and is available at the campus bookstore. Hopefully, you already own this for other core classes.

In addition, we will be discussing terminology and concepts found in the School of Art’s core website (a good reference for the entire semester): HYPERLINK "http://www.asu.edu/cfa/wwwcourses/art/SOACore" http://www.asu.edu/cfa/wwwcourses/art/SOACore

Course Requirements
During the hole semester, each student will be expected to participate fully in all activities of the class. Attendance and punctuality are mandatory.
We will cover five units during the semester, each with a number of assignments and projects. All the assignments are due at the beginning of class on the due date ,unless otherwise instructed. Each due date is listed in the schedule and will be also included on the assignment sheets to be handed during class. Late assignments will not be accepted. If your assignment is unfinished, you will still have to present what you have to the class. All Students are expected to participate in class discussions and critiques, even if their work is unfinished.

Grading
Criteria for grading are based on originality, and successful execution of project assignments. More specific grading guidelines will be outlined in assignment handouts.
In general, your assignments will be evaluated with three categories in mind: aesthetics, technical, and content. Not only will your skills be evaluated, but also your sense of artistic composition and subject matter are significantly important.

Overall, projects and critiques will be evaluated as follows:

Work shows a strong sense of imagination, creativity, with excellent execution both technically and conceptually, participating openly and willing in class and during critiques, spending time on assignments.
Work shows above average imagination, creativity, with good execution, attending class regularly.
Work shows some imagination, creativity, with fair execution, but it is not above average, last minute execution of assignments, being later for class, absences.
Projects are weak, no participation, regularly late and/or absent.

Attendance and punctuality are mandatory.

Class participation is a crucial part of this course and also factors in the grade. This includes thoughtful contributions to class discussions and critiques , and having a positive attitude and behavior.

The unit grade weight breakdown is as follows:
Unit One: Raster…….            150 points
Unit Two: Vector…….           150 points
Unit Three: Sound……          150 points
Unit Four: Animation…         150 points
Unit Five: Video…               150 points
Unit Six : Web……....          150 points
Attendance/participation :     100 points
Total: 1000 points

+Grades may be reduced in the event of poor attendance and/or participation.

Attendance
Attendance is mandatory and extremely important. You are required to be present physically and intellectually (awake and sober). Absent students will miss technical demonstrations and lectures that will prove vital in their artistic development. Therefore, more than three unexcused absences will result in the lowering of the final grade by one letter for everyday that the student is absent. For example, if a student is getting a “B” in the class, but they were absent 4 days, their final grade would be a “C”.   If they were absent 5 days, their final grade would be a “D”.   Class starts at 07:40 am after which students will be considered late. Three late marks will equal one absence. It is expected that students will stay for the entirety of class. Leaving early will also result in a lowered final grade. If a student is missing for a significant amount of class time, the student may be marked absent (at the instructor’s discretion).

Critiques are mandatory. If you do not show up for these dates, you will fail that assignment. Even if a student’s work is incomplete, the student’s presence is required.

If for some reason you cannot attend a class, contact us via e-mail prior to class to make arrangements for making up what you have missed. Contacting us in advance does not excuse the absence in terms of grading.

Classroom Conduct
You are expected to behave in a responsible manner that allows everyone in the classroom access to resources and learning. Behavior that disrupts classroom learning will not be tolerated. If your actions are disrespectful to the instructor or to other students, you will be asked to leave and counted absent.

The use of cell phones is completely prohibited (this includes texting). Please turn your cell phone off as soon as you walk into the classroom.

The computers in this lab can only be used for tasks strictly related to the classroom activities; therefore, checking your Facebook, Twitter, Myspace, personal email, etc is not allowed. If the instructor notices any of these sites on your computer screen during a lecture or on workday, you will be asked to leave the class and you will be considered absent for that day.
Lab Maintenance
This lab contains a lot of expensive equipment. Students are not permitted to use any equipment with which they are unfamiliar. Also, you are not permitted to have food or beverages at the computer desks. This is a shared classroom, so it is important that you clean up after yourself. Proper lab maintenance will be monitored and evaluated. It is also expected that you will act in a safe manor. Unsafe or destructive behavior will not be tolerated, and may result in expulsion from the class.    A complete list of safety policies and procedures can be found at: http://www.asu.edu/cfa/wwwcourses/art/SOACore/safety.htm

Storage
Each student is responsible for the storage and back up of their own files/projects. While there is temporary workspace available in the shared folder on each machine, this space is cleared regularly. Do not attempt to use the shared folder as a permanent storage solution. Again, you will need your own storage media device (external hard drive). Do not keep your projects in the desktop or else they will be deleted automatically.
Materials and Supplies
Materials for each assignment will vary, and you are expected to purchase materials as the class progresses. However, there are some mandatory materials that you must own or have immediate access to:

A Mac compatible external Firewire hard drive (7200 RPM, 250 Gig minimum) is highly recommended. At the very least you must have a flash/thumb drive (1 Gig minimum). Be warned, armed with only a thumb drive you will have a very hard time completing your projects.
A digital camera with appropriate data cord
A pair of headphones for lab use
Multiple blank CD’s and DVD-R
Multiple mini DV tapes
A valid and current Sun Card for access to lab
A bit of extra cash for purchases and expenses that may come up for projects
An ASU e-mail account and regular access to Black Board system
A notebook to take notes during class

The following would be helpful, but not mandatory:
lap-top with personal editing software
digital camcorder (different than camera)*
lighting equipment
tripod*
a computer microphone*

ASU’s Honesty Policy
The highest standard of academic integrity is expected of all students. The failure of any student to meet these standards may result in suspension or expulsion from the university and/or other sanctions as specified in the academic integrity policies of the individual colleges. Violations of academic integrity include, but are not limited to, cheating, fabrication, tampering, plagiarism, or facilitating such activities. The university and college academic integrity policies are available online at
HYPERLINK "http://www.asu.edu/studentaffairs/studentlife/judicial/academic_integrity.htm" http://www.asu.edu/studentaffairs/studentlife/judicial/academic_integrity.htm
All use of non-original materials is discouraged. However, if non-original material is used, you are responsible for the proper citation and legal usage of the resource. Violations are punishable by assignment failure, class failure (E), or failure due to academic dishonesty (XE) depending on the severity of the infraction.

Accommodation of Disabilities: Rights and Responsibilities of Students.
To request academic accommodations due to a disability, please contact the ASU Disability Resource Center – Phone: (480) 965-1234. This should be done in a timely manner because accommodations cannot be made retroactively. If you have a letter from their office indicating that you require particular academic accommodations, please present the letter to the instructor no later than the end of the second week of the semester so we can discuss our options.

Calendar (tentative)

The instructor has the right of changing the dates and/or projects content at any point during the semester.

Wk 1
Tuesday 1/19

Syllabus
Introduction to the class, meet and greet.
Blog instructions.
Self-portrait exercise.
Introduction to Unit 1: RASTER LECTURE

Thursday 1/21

Unit 1A: RASTER LECTURE
Image Scanning Demo
Importing images, Photoshop basics, photo correction.
Exercise.

Wk 2
Tuesday 1/26

Unit 1A:RASTER EXERCISE DUE.
Critique.
Intro to Unit 1B: RASTER
Project.

Thursday 1/28

Continue intro
Photo correction ,effects ,and tools Demo
Lab Day

Wk 3
Tuesday 2/02

More photo correction Demo
Check-In Lab Day

Thursday 2/04

Lab Day

Wk 4
Tuesday 2/09

Unit 1B RASTER PROJECT DUE
Critiques.
Intro to Unit 2:VECTOR
Ilustrator Demo . Basic tools.

Thursday 2/11

Cont Intro
Ilustrator Demo . Basic tools.

Wk 5
Tuesday 2/16

Unit 2: VECTOR PROJECT DUE
Critique.
Intro to AUDIO UNIT

Thursday 2/18

UNIT 3: AUDIO
Guest Lecture
The basic of sound

Wk 6
Tuesday 2/23

Lab Day, progress check-in

Thursday 2/25

Lab Day
Final touches

Wk 7
Tuesday 3/02

UNIT:3 AUDIO PROJECT DUE
UNIT 4: ANIMATION Intro
Making groups. Brainstorming.

Thursday 3/04

Continue Animation Lecture
Groups brainstorming. Demo.
Storyboards Due

Wk 8
Tuesday 3/09

Lab Day

Thursday 3/11

Lab Day

Wk 9
Tuesday 3/16
SPRING BREAK

Thursday 3/18
SPRING BREAK

Wk 10
Tuesday 3/23

Lab Day

Thursday 3/25

ANIMATION PROJECT DUE
Critique
UNIT 5: VIDEO INTRO

Wk 11
Tuesday 3/30

Continue Video lecture

Thursday 4/01

Continue Demo
Ideas critique

Wk 12
Tuesday 4/06

Lab day. All video footage done and raed to import. Editing beiges.

Thursday 4/08

Lab Day

Wk 13
Tuesday 4/13

Lab Day

Thursday 4/15

Lab Day

Wk 14
Tuesday 4/20

VIDEO PROJECT DUE
Critique

Thursday 4/22

UNIT 6: WEB
Intro. Guest lecture
Demo

Wk 15
Tuesday 4/27

Lab Day

Thursday 4/29

Check-in Lab Day

Wk 16
Tuesday 5/04

Last Day of Classes
WEB PROJECT DUE
Final Critique


* EQUIPMENT CIRCULATION TEMPE

480 9653342

Location: COOR L1-90, or EDB (Payne) 122.

Web: http://help.asu.edu/tempe_circulation
(Check-out procedures)

1. ASU Sun Card

2. Need to hand in an “Authorization Form” to reserve equipment

3. Students can check out equipment only after the form has been confirmed with the
professor.

The following equipment is available:

Slide projector, dissolve unit, slide tray
Overhead projector
Video camera, tripod (24 Hour check-out)
Digital camera (24 Hour check-out)
16mm projector
Screen- portable
Cassette recorder
Microphone, microphone system, speaker, floor stand, table stand
Extension cord, miscellaneous adapters and cables