Week 04 | Transitional

The idea of transitioning is not defined by either a step forward or a step backwards like progree or failure. This moment is rather a process in which there is a change from one state to another, that something has undergone a change in state. This idea is one that we can relate to common science. The principles between such things as solids, liquids, and gases is a common example of state change. The inherent properties of such elements remain the same, but the state of these properties as well as their method of interactivity change completely. This simple example can help us to understand the intrinsic method of transitioning information from raster graphics to vector graphics and our process for the next assignment.


(left) Block Works Sublimate II 2004 Mild steel blocks 194 x 53 x 30 cm (right) Domain Series Domain XXIX 2000 Stainless steel bar 4.76 mm x 4.76 mm 190 x 57 x 37 cm Antony Gormley describes his two pieces: “The Block Work Series makes physical pixelisations with a rising canon of four blocks, each eight times the volume of the one before, keeping the same 1:1:2 proportion as in the original Building series that only used one block size. They are all evocations of the inside of the body under the skin.” Similarly, the artist states about Domain Series, “I wanted to escape from the delimitation of skin (whether the exclusive volumes of the lead bodycases or the solid volumes of the body forms) and acknowledge of the body as a place of transformation.”

Think of vectors this way, moving away from the limiting factors of image. When we begin this project, the liberation of movement, dynamics, and dimension should become clear. The raster image evokes symbolism and value and image, which is why it was so difficult to move beyond the subjective information in each photograph. Here, with vectors, we will not be 'tracing' but 'mapping.' It may seem as thought we are working in reverse, which is again not reverse at all, but a transition. A change in state.

Look at the image below. The process is evident in the product. There is a coherence in this relationship and it is evident after having seen both side by side. This same value should be placed on our process. We are not creating a new, but rather transitioning between values and relationships. The original image and your mapping of that image should evoke a similar feeling of continutiy and curiosity.

Tim Knowles, Tree Drawing Larch on easel [x4] #2

Vector graphics are made up of lines and curves defined by mathematical objects called vectors, which describe an image according to its geometric characteristics. You can freely move or modify vector graphics without losing detail or clarity, because they are resolution-independent—they maintain crisp edges when resized, printed, or saved in a PDF file. As a result, vector graphics are the best choice for artwork, such as logos, maps, or other graphic products that will be used at various sizes and in various output media. It’s important to remember that the basis for a vector is always and underlying equation or coordinate system. Even something as simple as a line will contain the basic geometric information needed to 'plot’ a line. Bitmap images—technically called raster images—use a rectangular grid of picture elements (pixels) to represent images. Each pixel is assigned a specific location and color value. When working with bitmap images, you edit pixels rather than objects or shapes. Bitmap images are the most common electronic medium for continuous-tone images, such as photographs or digital paintings, because they can more efficiently represent subtle gradations of shades and color. Unlike vectors, bitmap images are resolution-dependent—that is, they contain a fixed number of pixels. As a result, they can lose detail and appear jagged if they are scaled to high magnifications on‑screen or if they are printed at a lower resolution than they were created for.


Begin by looking both at the individual instances that made up the composite as well as the composite as a whole for characteristics that interest you. Some suggestions would include looking for edges, changes in direction, movement, etc. you should focus on ONE quality in the end, so determine what is the most powerful quality found in the composition(s) and use that as the system of logic for you next step, the visualization. You are to now draw or “map” the found quality using vector lines in Adobe Illustrator.

One 17” wide x 11” tall .PDF file that visualizes the found quality from your filtered composites. Place your file in your “mybackpack,” making sure to list your instructor as a shared user for the file. Please use the nomenclature “A03_yourlastname_firstinitial.jpg” for the file name. If, for example, your name is “Bob Smith” you will save you work using the nomenclature “A03_Smith_B.jpg.” All files are due to your backpacks by 12:00pm Tuesday 19 February.

Late work will not be accepted. Please also print a black and white copy of your work and bring it to class.