Most of the work today was moving in the right direction, I'd like to stress again the importance of re-creating the image. Find new meaning to the content, dissect new information from what its original subject was. Take a look at the work of this photographer_ Jenny Okun Photography. She focuses on architectural subjects but overlays these incredible transformations of her original images. They give the illusion that they're almost in motion. It should be worth the inspiration.
Once again, save the 11x17 .jpg as stated in your backpack by 12:00 Tuesday - and print a color version for class Wednesday. Also, if you have drafts saved - print those as well. We'll talk about why those were 'drafts' and why you moved on from there.
Please post comments or questions here, or email me (jacklynn.arndt@temple.edu or jacklynn@qb3design.com). I'll start office hours next week and am always available by appt. after 7:00pm for help. Don't hesitate to ask.
30 January 2008
27 January 2008
Week 02 | Intro and Conjoin-ing
This semester will take a path that we cannot definitively chart. It’s a process of testing and decision-making. How we move from one project to another will largely rely on the way we resolved the previous project. The class focuses on accumulation and experimentation: each week will build upon information learned prior. We are required to experiment with the media provided, often not knowing where the information will take us.
The image shown below represents possible directions or ‘waypoints.’ These flight plans are a standard and give a series of possible routes to the pilots using them. When in a zone near an airfield, the possible directions of exit or entry are shown as vectors with data attached to each line. The reason for theses nodes of movement and this mapping technique is ultimately the technology in place at each airport. An aircraft would move towards a locating signal and then re-route to the next available signal based on the variables surrounding them (ie. weather, winds, traffic, etc.)
Think of this class as the transition from flat to 3D, from analog to digital, and even from static to dynamic. As a result, the way we think about architecture should be similarly expanded in multiple directions, because there are always various answers and viewpoints. If we loosely define architecture as the articulation of movement, spaces, and materials _ the methods of representing this are endless and do not always resolve themselves in a plan or even in a static image. The representation of an idea should carry as much meaning as the idea itself.
In the 1950's an urban artist group that deemed themselves 'situationists' would wander the streets of Paris without set direction. Sometimes even, they would use a map of London to explore the French capital. Nonetheless, the articulation of these drifts (or derive's) became an important aesthetic to their mission. As a reaction the modernism of the day (think grided city plans and wide boulevards) they felt the emotion of the city was quickly dissolving. This map shows the clustering of zones or 'waypoints' where an investigation should be made and a new direction taken. By wandering, the user of this map discover his or her own abstract unities of the city.
The first project is a blending of supplied photos in photoshop. The goal of this exercise is to examine the ways we can join pixel-based images with the software's tools. The 'seams' conjoining the photos are the space of investigation. These junctures should be stitched with reason and intent – shading, shapes, or any other graphic reason, not symbolic linkages. Focus on the reasons why you've linked things. Keep in mind these three themes: Unite the images, combine the images, associate the images.
First you will use a series of selection processes to orient and crop your images. These tools will allow you to build a foundation on the page. Second, you will want to apply a series of applicable transformations to the series. Managing and labeling layers during this process will also be critical in maintaining image distinction, separating transformations, and in keeping your file organized. For quick tool reference see the Adobe help center online.
Another reference to this method of compositional construction is the exquisite corpse, while chronologically different, the idea remains. Beginning with Dada movement in the 1920's, the exquisite corpse was a playful method of construction. One artist would begin a portrait of a head and go as far as perhaps a neck, fold the page so only a small portion of their drawing remained, and hand it off to the next artist. This transition was their moment of the seam or of conjoining (notice the folds on the image at right). Eventually the image would make a complete figure or an 'exquisite corpse.' The organic process did not always yield beautiful images, yet the outcome was something not one person could have imagined on their own. The product was a direct result of the inconsistent and experimental quality of the process.
It is important to document failure and change within this process. It's good to think about this class as a lab and not a studio. As of this point, there are no right answers. It says in your syllabus that we are not required to make something fascinating, but we are most definitely required to discover something fascinating. This also means that it is not enough to have that one great idea – like you may sometimes have in studio. It’s imperative that trial and error is a part of this class.
Your submitted file should be no larger than 2250 pixels wide and 1650 pixels tall (this translates to 17” wide x 11” tall at 150dpi) saved in .JPG format using RGB Colormode. Place your file in your “mybackpack,” making sure to make your instructor a shared user for the file. Please use the nomenclature “A01_yourlastname_firstinitial.jpg” for the file name. If, for example, your name is “Bob Smith” you will save you work using the nomenclature “A01_Smith_B.jpg.”
All files are due to your backpacks by 12:00pm Tuesday 05 February. Late work will not be accepted. Please also print a color copy of your work and bring it to class.
The image shown below represents possible directions or ‘waypoints.’ These flight plans are a standard and give a series of possible routes to the pilots using them. When in a zone near an airfield, the possible directions of exit or entry are shown as vectors with data attached to each line. The reason for theses nodes of movement and this mapping technique is ultimately the technology in place at each airport. An aircraft would move towards a locating signal and then re-route to the next available signal based on the variables surrounding them (ie. weather, winds, traffic, etc.)
Think of this class as the transition from flat to 3D, from analog to digital, and even from static to dynamic. As a result, the way we think about architecture should be similarly expanded in multiple directions, because there are always various answers and viewpoints. If we loosely define architecture as the articulation of movement, spaces, and materials _ the methods of representing this are endless and do not always resolve themselves in a plan or even in a static image. The representation of an idea should carry as much meaning as the idea itself.
In the 1950's an urban artist group that deemed themselves 'situationists' would wander the streets of Paris without set direction. Sometimes even, they would use a map of London to explore the French capital. Nonetheless, the articulation of these drifts (or derive's) became an important aesthetic to their mission. As a reaction the modernism of the day (think grided city plans and wide boulevards) they felt the emotion of the city was quickly dissolving. This map shows the clustering of zones or 'waypoints' where an investigation should be made and a new direction taken. By wandering, the user of this map discover his or her own abstract unities of the city.
The first project is a blending of supplied photos in photoshop. The goal of this exercise is to examine the ways we can join pixel-based images with the software's tools. The 'seams' conjoining the photos are the space of investigation. These junctures should be stitched with reason and intent – shading, shapes, or any other graphic reason, not symbolic linkages. Focus on the reasons why you've linked things. Keep in mind these three themes: Unite the images, combine the images, associate the images.
First you will use a series of selection processes to orient and crop your images. These tools will allow you to build a foundation on the page. Second, you will want to apply a series of applicable transformations to the series. Managing and labeling layers during this process will also be critical in maintaining image distinction, separating transformations, and in keeping your file organized. For quick tool reference see the Adobe help center online.
Another reference to this method of compositional construction is the exquisite corpse, while chronologically different, the idea remains. Beginning with Dada movement in the 1920's, the exquisite corpse was a playful method of construction. One artist would begin a portrait of a head and go as far as perhaps a neck, fold the page so only a small portion of their drawing remained, and hand it off to the next artist. This transition was their moment of the seam or of conjoining (notice the folds on the image at right). Eventually the image would make a complete figure or an 'exquisite corpse.' The organic process did not always yield beautiful images, yet the outcome was something not one person could have imagined on their own. The product was a direct result of the inconsistent and experimental quality of the process.
It is important to document failure and change within this process. It's good to think about this class as a lab and not a studio. As of this point, there are no right answers. It says in your syllabus that we are not required to make something fascinating, but we are most definitely required to discover something fascinating. This also means that it is not enough to have that one great idea – like you may sometimes have in studio. It’s imperative that trial and error is a part of this class.
Your submitted file should be no larger than 2250 pixels wide and 1650 pixels tall (this translates to 17” wide x 11” tall at 150dpi) saved in .JPG format using RGB Colormode. Place your file in your “mybackpack,” making sure to make your instructor a shared user for the file. Please use the nomenclature “A01_yourlastname_firstinitial.jpg” for the file name. If, for example, your name is “Bob Smith” you will save you work using the nomenclature “A01_Smith_B.jpg.”
All files are due to your backpacks by 12:00pm Tuesday 05 February. Late work will not be accepted. Please also print a color copy of your work and bring it to class.
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