Digitally Inclined : The Digital Art Mob's Juried Student Show
Deadline January 24th - Please Submit!
Saturday, December 12, 2009
Monday, November 30, 2009
Digital Art Mob Meeting
Thurs. Dec. 3rd, 5:30 pm, Rowe Lobby
We'll be meeting to talk about the juried digital art show in the spring, the end of semester video screening, the Drive by Press video, and any other number of items folks would like to bring up (Gaming Certificate, Digital Media BFA, etc.)
http://digitalartmob.ning.com/events/digital-art-mob-meeting
or
http://www.facebook.com/event.php?invites&eid=188122944806
We'll be meeting to talk about the juried digital art show in the spring, the end of semester video screening, the Drive by Press video, and any other number of items folks would like to bring up (Gaming Certificate, Digital Media BFA, etc.)
http://digitalartmob.ning.com/events/digital-art-mob-meeting
or
http://www.facebook.com/event.php?invites&eid=188122944806
Monday, November 16, 2009
Drive by Press this Week!!
Wednesday, November 18th, 2009
- Lecture - 9:30 to 11:00 a.m., Macy 107, “The History of Printmaking”
- Lecture - 12:30 to 2:00 p.m., Storrs 110, “The Story of Drive By Press”
- Lecture - 3:30 to 5:00 p.m., Rowe 276, “Contemporary Print Media”
- Demonstrations - 10:00 a.m. to 2:00 p.m. in front of Rowe Arts Building, cutting wood blocks, inking and printing T-shirts
- Presentations - 2:15 to 5:00 p.m., Rowe 280, discussion about professional development for young artists
Thursday, October 29, 2009
AfterEffects/GarageBand Project 4 – Animated Poem
Project Description
You will create a 30 second to 2 minute animation based on a short poem.
Poem
The poem must be contemporary (written within the last 100 years) and no more than 150 words.
Sound
You will start by creating the sound for this poem. The sound must include someone reading the text of the poem. This should also effectively be a collage, an emotional response to the poem, amplifying your interpretation of it. You should generate all sounds yourself, although you may appropriate short (5 seconds or less) bits of audio from http://www.archive.org. No other sounds may be appropriated. You will want to vary the tempo of the soundtrack to create drama, contrast and suspense. Remember that the pacing of your animation will be determined, in part, by the pacing of your audio.
Storyboard
Next, you will create a storyboard outlining the different scenes of the animation. The storyboard should note the audio track (what’s being read for each block) and any movement in the animation. Sound effects can be added to fit the images better as well, and these should also be described in the storyboard.
Refined Illustration
Although your storyboard will be a very rough outline of your animation, you will also create one refined illustration (created in Photoshop) of a scene to give a sense of the aesthetic you are using. This way you will quickly know if you aesthetic is too ambitious or too simplistic for the project. You may NOT appropriate any images for this project with the following exceptions:
http://www.flickr.com/creativecommons/by-2.0/ (Creative Commons, Attribution).
If you use an image from this site, you MUST LEGALLY and FOR THIS ASSIGNMENT credit the photographer as part of the credits to your work!
http://www.flickr.com/photos/pingnews/collections/72157600007938726/ (Ping News' Public Domain images). These are Public Domain and you need not credit the photographer.
If you appropriate images from any other sources or do not credit the Creative Commons 2.0 images, YOU WILL FAIL THE PROJECT! This will be considered CHEATING and will be handled as such.
You may also, of course, use your own drawings and photographs. This is STRONGLY encouraged; the best results have generally been when the artist creates their own work.
Animation
You are also encouraged to try different approaches to animation, from drawings created in the computer, to those created by hand, white boards, sand, pixilation, stop-motion, puppet animation, abstraction, etc. Do not simply illustrate what the poem is literally saying. Consider how the imagery can add another level of meaning to the poem. For example, if the poem says, “Love is like a red, red rose” and you show us a red rose and a heart, you are simply repeating the verbal imagery of the poem and this may bore the audience. However, if poem says, “Love is like a red, red rose” and you show a rapid dog eating a bloody steak, you will make the audience very curious about the connection and excited to see what comes next! You can create your own original metaphors and analogies this way to build interest and create depth and meaning to the animation.
Inspiration/Resources
Animations of poems by Billy Collins
http://www.youtube.com/watch?v=wrEPJh14mcU
http://www.youtube.com/watch?v=iuTNdHadwbk&feature=fvw
http://www.youtube.com/watch?v=8xovLpim_1s&feature=related
http://www.youtube.com/watch?v=k0xiWuwGq8M&feature=related
Born Magazine (Mostly interactive text animations, but great work!) http://www.bornmagazine.com
Contemporary Poems/Poets
http://www.palace.net/~llama/poetry/
http://capa.conncoll.edu/
http://famouspoetsandpoems.com/poets_contemporary.html
Blank Storyboard -- Click Here
You will create a 30 second to 2 minute animation based on a short poem.
Poem
The poem must be contemporary (written within the last 100 years) and no more than 150 words.
Sound
You will start by creating the sound for this poem. The sound must include someone reading the text of the poem. This should also effectively be a collage, an emotional response to the poem, amplifying your interpretation of it. You should generate all sounds yourself, although you may appropriate short (5 seconds or less) bits of audio from http://www.archive.org. No other sounds may be appropriated. You will want to vary the tempo of the soundtrack to create drama, contrast and suspense. Remember that the pacing of your animation will be determined, in part, by the pacing of your audio.
Storyboard
Next, you will create a storyboard outlining the different scenes of the animation. The storyboard should note the audio track (what’s being read for each block) and any movement in the animation. Sound effects can be added to fit the images better as well, and these should also be described in the storyboard.
Refined Illustration
Although your storyboard will be a very rough outline of your animation, you will also create one refined illustration (created in Photoshop) of a scene to give a sense of the aesthetic you are using. This way you will quickly know if you aesthetic is too ambitious or too simplistic for the project. You may NOT appropriate any images for this project with the following exceptions:
http://www.flickr.com/creativecommons/by-2.0/ (Creative Commons, Attribution).
If you use an image from this site, you MUST LEGALLY and FOR THIS ASSIGNMENT credit the photographer as part of the credits to your work!
http://www.flickr.com/photos/pingnews/collections/72157600007938726/ (Ping News' Public Domain images). These are Public Domain and you need not credit the photographer.
If you appropriate images from any other sources or do not credit the Creative Commons 2.0 images, YOU WILL FAIL THE PROJECT! This will be considered CHEATING and will be handled as such.
You may also, of course, use your own drawings and photographs. This is STRONGLY encouraged; the best results have generally been when the artist creates their own work.
Animation
You are also encouraged to try different approaches to animation, from drawings created in the computer, to those created by hand, white boards, sand, pixilation, stop-motion, puppet animation, abstraction, etc. Do not simply illustrate what the poem is literally saying. Consider how the imagery can add another level of meaning to the poem. For example, if the poem says, “Love is like a red, red rose” and you show us a red rose and a heart, you are simply repeating the verbal imagery of the poem and this may bore the audience. However, if poem says, “Love is like a red, red rose” and you show a rapid dog eating a bloody steak, you will make the audience very curious about the connection and excited to see what comes next! You can create your own original metaphors and analogies this way to build interest and create depth and meaning to the animation.
Inspiration/Resources
Animations of poems by Billy Collins
http://www.youtube.com/watch?v=wrEPJh14mcU
http://www.youtube.com/watch?v=iuTNdHadwbk&feature=fvw
http://www.youtube.com/watch?v=8xovLpim_1s&feature=related
http://www.youtube.com/watch?v=k0xiWuwGq8M&feature=related
Born Magazine (Mostly interactive text animations, but great work!) http://www.bornmagazine.com
Contemporary Poems/Poets
http://www.palace.net/~llama/poetry/
http://capa.conncoll.edu/
http://famouspoetsandpoems.com/poets_contemporary.html
Blank Storyboard -- Click Here
Storyboard Examples -- Click Here and Here
Schedule
11/10 AfterEffects CS3 Professional Essential Training
3. Getting Started>Understanding the interface
4. Importing Files>Importing basic files, What is an alpha channel?, Using image sequences
5. Of Layers and Compositions>About Compositions, Adding assets to compositions, Layer essentials, Nesting compositions
6. Using the Timeline>All headings
7. Animation Essentials>All headings
Homework - Poem Due (DO NOT CHANGE YOUR POEM AFTER THIS DATE!)
11/12 AfterEffects CS3 Professional Essential Training
Schedule
11/10 AfterEffects CS3 Professional Essential Training
3. Getting Started>Understanding the interface
4. Importing Files>Importing basic files, What is an alpha channel?, Using image sequences
5. Of Layers and Compositions>About Compositions, Adding assets to compositions, Layer essentials, Nesting compositions
6. Using the Timeline>All headings
7. Animation Essentials>All headings
Homework - Poem Due (DO NOT CHANGE YOUR POEM AFTER THIS DATE!)
11/12 AfterEffects CS3 Professional Essential Training
8. Animation Part 1: Basic Principles (All headings are optional but encouraged!)
9. Animation Part 2: Helpers>Easing keyframes, Using Auto-orient. (Other headings are optional, but encouraged!)
10. Animation Part 3: The Next Level> Parenting, Altering multiple parameters at once, Working with paths
11. Being Creative with After Effects> (All headings are optional but encouraged!)
12. Introduction to Effects>Using Effects, Using blur effects, Color correcting with effects
13. Using Text in After Effects>Creating Text, Animating Text
14. Video Editing in After Effects>Trimming and video editing in After Effects, Splitting a layer, Time stretching
Homework – Storyboard Due
11/17 AfterEffects CS3 Professional Essential Training
15. Masks, Mattes and Keying> Creating masks, Creating a garbage matte, (Optional but encouraged: Introduction to Keylight)
16. Workig with Audio>Using audio in AfterEffects, Creating audio markers
17. Intoduction to 3D> (All headings are optional but encouraged!)
18. Photoshop and After Effects> Importing Photoshop files, Converting Photoshop text to editable text
20. Exporting> The Render Queue, Essential File Formats, Essential Codecs
Homework - Refined Illustration Due. Sound should be done by this date.
11/19 ---Work on Project 4
11/24 ---Work on Project 4
11/26 No Class – Thanksgiving Break
12/1---Work on Project 4
12/3---Work on Project 4
12/8---Last Class - CRITIQUES
12/15---FINAL EXAM DAY - AfterEffects Quiz and Open Printing
Wednesday, October 21, 2009
GarageBand Project 3 – The Prelinger Remix
Using GarageBand, you will create your own 30-second music track for the video “Prelinger_Remix_Small”. You will create your sound using both your own digital audio recordings, Garageband's loops and sounds from http://www.archive.org.
You must manipulate sounds from the original enough to claim them as your own, that is, you may use NO MORE than 5 contiguous seconds from any given clip. Layering, cutting, and distorting them can also aid in this.
Be aware of the pacing of edits and how your audio relates. This footage is all black and white; how can you add “color” to the footage with sound? The sequence of images is seemingly random; but how can you create a meaning or ambience with sound? Try to avoid using the loops to make a "canned" sound. Try to use your own sounds and ones from archive.org to create a truly original and stand-out-from-the-crowd piece!
10/27 GarageBand ’08 Essential Training
1. Getting Started > all headings
2. Working with Loops> The Loop Browser, Read and software loops, Adding loops to the timeline, Customizing loop effects, Importing audio tracks
4. Working with Real Instruments> Setting input levels, Recording a real instrument track, (Optional : Customizing effects (gate, compression, visual equalizer, Customizing effects (echo, reverb) and saving effects settings.)
5. Arranging, Editing Mixing> Editing and mixing, Pan controls and Pan curves, Volume curves, The Master track
6. Podcasting> Video podcasting, Exporting to iTunes and iWeb
10/29 Work on Project 3
11/3 No Art Classes - Advising Day!! GET ADVISED!!
11/5 Project 3 Critiques
You must manipulate sounds from the original enough to claim them as your own, that is, you may use NO MORE than 5 contiguous seconds from any given clip. Layering, cutting, and distorting them can also aid in this.
Be aware of the pacing of edits and how your audio relates. This footage is all black and white; how can you add “color” to the footage with sound? The sequence of images is seemingly random; but how can you create a meaning or ambience with sound? Try to avoid using the loops to make a "canned" sound. Try to use your own sounds and ones from archive.org to create a truly original and stand-out-from-the-crowd piece!
10/27 GarageBand ’08 Essential Training
1. Getting Started > all headings
2. Working with Loops> The Loop Browser, Read and software loops, Adding loops to the timeline, Customizing loop effects, Importing audio tracks
4. Working with Real Instruments> Setting input levels, Recording a real instrument track, (Optional : Customizing effects (gate, compression, visual equalizer, Customizing effects (echo, reverb) and saving effects settings.)
5. Arranging, Editing Mixing> Editing and mixing, Pan controls and Pan curves, Volume curves, The Master track
6. Podcasting> Video podcasting, Exporting to iTunes and iWeb
10/29 Work on Project 3
11/3 No Art Classes - Advising Day!! GET ADVISED!!
11/5 Project 3 Critiques
Thursday, September 24, 2009
Storrs Wide Format Printing
for all kinds of information on printing large format projects, CDs, DVDs as well as regular print sizes.
(Only for use by CoA+A Students and Faculty for educational purposes.)
Corrected Public Domain Links
Wiki Public Domain
and also
and also
Note that they've changed their phrasing to "believed to be in the Public Domain"! Use your noodle!
Saturday, September 19, 2009
Thursday, September 17, 2009
The dangers of copyright trespass
An example of what can (and DOES) happen....
Tuesday, September 15, 2009
Monday, September 14, 2009
Corrected Public Domain Link
Flckr Public Domain
and also
Note that they've changed their phrasing to "believed to be in the Public Domain"! Use your noodle!
Sunday, September 13, 2009
InDesign/Photoshop Project 2 – Recipe for a Recipe
Description
1) Think of a process that requires several different steps to complete. This could be anything from tying your shoe laces, to cooking an omelet, to overthrowing the world. Write down these steps and revise it as necessary so it is as clear, concise and/or poetic as possible. Your process must require at least five separate steps.
2) You will create the artwork and layout the text of your steps for an 4-16 page book which will convey a this "recipe". The "recipe book" should at least have
• front cover art and title plus your name
• back cover art
• one interior artwork spreading over two pages with the text of the "recipe".
This is the minimum requirement.
3) You must use one of the following layouts; each option uses an entire sheet of 13" x 19" paper.
• 1-fold 6.5" x 19" or 13" x 9.5", 4-pages (cover, back and two interior pages)
EASIEST OPTION, BUT MAY BE THE DULLEST!
• 1-fold 4.25" x 11" or 8.5" x 5.5", 8-pages (cover, back, and six interior pages)
MODERATE DIFFICULTY, BUT THE BEST OPTION OVER ALL
• Two 3-folds (accordian fold) 4.75" x 6.5" or 13" x 9.5". Arrangement of the two sheets is up to you, but both sides of both sheets must be used.
MOST CHALLENGING OPTION!
3) After you write down your "recipe", create a "dummy" of the book so you know where the text will be, and where the images will be.
4) Creating your images in Photoshop with the "dummy" at hand so you know exactly what sizes these must be.
5) I will demonstrate in class how to set up your InDesign file for the different layout options. Each option is different, so be sure to take good notes. Then lay out your images and text in InDesign.
For this project, you may use Public Domain images, but ALL images in your book must be digital collages created in Photoshop. (No "straight" or unadultered photos.) This should be a showcase of your Photoshop skills as much as your text layout skills. All public domain images must be cited when you hand in the work. I recommend keeping a text file and simply copying and pasting the URL link of the exact image into that text file. Then the text can be posted to the blog with your image on the day of critique.
Schedule
9/17 InDesign CS3 Essential Training
2. Workspace> Navigating your document, Rulers and measurements, View options
3. Getting to the Tools> Contextual menus
4. Creating a Document> New Documents, Saving documents, Using Undo, Margin and column guides, Layout adjustment, Ruler guides
5. Managing Pages> Inserting, deleting and moving pages, Creating and applying master pages
Homework: Text of your "recipe" is due.
9/22 InDesign CS3 Essential Training
6. Text> Text frames, Typing and editing text, Threading text frames, Text frame options, Text on a path
7. Graphics> Importing graphics, The Links panel, The Edit Original command, Frame fitting options, Transparency and Clipping Paths
8. Formatting Objects> Selecting Objects, Basic strokes and fills, Transparency, Drop shadows, Feathering
9. Managing Objects> Stacking objects, Editing frame and path shapes, Grouping and locking objects, aligning and distributing, Text wrap, Editing text wrap
Homework: Dummy of your "recipe" is due. Be sure you PRECISELY lay out where text and images will go and how they relate. This should be a DETAILED dummy. It may be scaled down by using letter size paper.
9/24 InDesign CS3 Essential Training
10. Transforming Objects> Rotating, Scaling
11. Character Formatting> Basic character styling
12. Paragraph Formatting> Paragraph formatting, Drop caps, Justification
13. Styles> Character styles
15. Color> Creating color swatches, Unnamed colors
16. Exporting> Exporting a PDF
17. Printing> All
9/29 Work on Project 2
10/1 WIMBA DAY. I will be instructing this class remotely with Wimba; you must be at a computer with InDesign, but need not be in our regular classroom. I will send an invitation via email to your UNCC email account earlier in the week. CHECK YOUR EMAIL and DO NOT LOSE OR DELETE THIS EMAIL. I will not send it again. This will be a work day, so we will use WIMBA to post works in progress and field questions and answers.
10/6 Work on Project 2
10/8 Work on Project 2
10/13 No Classes
10/15 Work on Project 2
10/20 PRINTING DAY - PROJECT MUST BE COMPLETE!
10/22 CRITIQUES
1) Think of a process that requires several different steps to complete. This could be anything from tying your shoe laces, to cooking an omelet, to overthrowing the world. Write down these steps and revise it as necessary so it is as clear, concise and/or poetic as possible. Your process must require at least five separate steps.
2) You will create the artwork and layout the text of your steps for an 4-16 page book which will convey a this "recipe". The "recipe book" should at least have
• front cover art and title plus your name
• back cover art
• one interior artwork spreading over two pages with the text of the "recipe".
This is the minimum requirement.
3) You must use one of the following layouts; each option uses an entire sheet of 13" x 19" paper.
• 1-fold 6.5" x 19" or 13" x 9.5", 4-pages (cover, back and two interior pages)
EASIEST OPTION, BUT MAY BE THE DULLEST!
• 1-fold 4.25" x 11" or 8.5" x 5.5", 8-pages (cover, back, and six interior pages)
MODERATE DIFFICULTY, BUT THE BEST OPTION OVER ALL
• Two 3-folds (accordian fold) 4.75" x 6.5" or 13" x 9.5". Arrangement of the two sheets is up to you, but both sides of both sheets must be used.
MOST CHALLENGING OPTION!
3) After you write down your "recipe", create a "dummy" of the book so you know where the text will be, and where the images will be.
4) Creating your images in Photoshop with the "dummy" at hand so you know exactly what sizes these must be.
5) I will demonstrate in class how to set up your InDesign file for the different layout options. Each option is different, so be sure to take good notes. Then lay out your images and text in InDesign.
For this project, you may use Public Domain images, but ALL images in your book must be digital collages created in Photoshop. (No "straight" or unadultered photos.) This should be a showcase of your Photoshop skills as much as your text layout skills. All public domain images must be cited when you hand in the work. I recommend keeping a text file and simply copying and pasting the URL link of the exact image into that text file. Then the text can be posted to the blog with your image on the day of critique.
Schedule
9/17 InDesign CS3 Essential Training
2. Workspace> Navigating your document, Rulers and measurements, View options
3. Getting to the Tools> Contextual menus
4. Creating a Document> New Documents, Saving documents, Using Undo, Margin and column guides, Layout adjustment, Ruler guides
5. Managing Pages> Inserting, deleting and moving pages, Creating and applying master pages
Homework: Text of your "recipe" is due.
9/22 InDesign CS3 Essential Training
6. Text> Text frames, Typing and editing text, Threading text frames, Text frame options, Text on a path
7. Graphics> Importing graphics, The Links panel, The Edit Original command, Frame fitting options, Transparency and Clipping Paths
8. Formatting Objects> Selecting Objects, Basic strokes and fills, Transparency, Drop shadows, Feathering
9. Managing Objects> Stacking objects, Editing frame and path shapes, Grouping and locking objects, aligning and distributing, Text wrap, Editing text wrap
Homework: Dummy of your "recipe" is due. Be sure you PRECISELY lay out where text and images will go and how they relate. This should be a DETAILED dummy. It may be scaled down by using letter size paper.
9/24 InDesign CS3 Essential Training
10. Transforming Objects> Rotating, Scaling
11. Character Formatting> Basic character styling
12. Paragraph Formatting> Paragraph formatting, Drop caps, Justification
13. Styles> Character styles
15. Color> Creating color swatches, Unnamed colors
16. Exporting> Exporting a PDF
17. Printing> All
9/29 Work on Project 2
10/1 WIMBA DAY. I will be instructing this class remotely with Wimba; you must be at a computer with InDesign, but need not be in our regular classroom. I will send an invitation via email to your UNCC email account earlier in the week. CHECK YOUR EMAIL and DO NOT LOSE OR DELETE THIS EMAIL. I will not send it again. This will be a work day, so we will use WIMBA to post works in progress and field questions and answers.
10/6 Work on Project 2
10/8 Work on Project 2
10/13 No Classes
10/15 Work on Project 2
10/20 PRINTING DAY - PROJECT MUST BE COMPLETE!
10/22 CRITIQUES
Monday, September 7, 2009
Wimba
If you are sick, but well enough to pay attention via internet or if classes cannot be held due to campus closing, we are expected to still have class as usual. To this end, we will be using Wimba, a web browser based distance education program.
NOTE: If this policy is ABUSED or if you are EXCESSIVELY ABSENT, I will recommend youwithdraw from the class/school. This is by honor code. Please don't waste my and your classmates time with petty laziness, since most of us are serious about our work here.
The steps for connecting to class are as follows:
1) If you are sick, email me as soon as you know you will not be able to attend. If you email be four or fewer hours before class, I cannot promise your participation.
3) Click the URL: http://67.202.211.176/launcher.cgi?room=mtg_hdfreema link in the email sent to you. (This link will be different, for everyone, so don't try to click on the link from here in the blog.)
NOTE: If this policy is ABUSED or if you are EXCESSIVELY ABSENT, I will recommend youwithdraw from the class/school. This is by honor code. Please don't waste my and your classmates time with petty laziness, since most of us are serious about our work here.
The steps for connecting to class are as follows:
1) If you are sick, email me as soon as you know you will not be able to attend. If you email be four or fewer hours before class, I cannot promise your participation.
2) If class is cancelled, I will email the whole class at your UNCC email address. Check your email before the start of class since set up may take a few minutes.
3) The email will look something like this:
You have been invited to join a Wimba Classroom session.
// Room Info
Name: Meeting Room hdfreema
URL: http://67.202.211.176/launcher.cgi?room=mtg_hdfreema
// Time and Duration
Start Time: September 7, 2009 at 8:00 A.M. EDT
Duration: 120 minutes
// Phone Access
Dial-in number(s): Phone - (201) 549-7623
Phone PIN: 06217918
4) A new window will open. Where it says "Participant Login" type in your First and Last Name. (You should not need the username and password option.)
5) If Wimba has never been used on that computer before, use the SetUp Wizard (it will prompt you) to set up your browser to the correct settings. Simply follow the instructions.
6) You will then enter a window will say "Welcome to Meeting Room hdfreema." You're here!
7) Lower left hand corner: chat window. Lower middle-right, window saying who's in class and icons for raising your hand, saying yes or no, and emoticons.
8) You will, at some point, see my screen and hear me lecture. To warn you, the screen refresh is VERY SLOW. Keep ALL other applications on your computer closed and try to use the fastest bandwidth available to you. This is NOT an ideal teaching situation, but it will carry us (hopefully) through an emergency situation.
Saturday, September 5, 2009
2 credit Installation Art Workshop/Class
International Installation Artist, Sonja Hinrichsen, will be a Visiting Artist–in-Residence at UNC-Charlotte’s College of Art and Architecture, in conjunction with an artist residency at the McColl Center.
Sonja will be working on an installation project “Mapping Charlotte” and is offering a Special Topics Class (3000 Level – 2 credit class) at UNC-Charlotte for students who wish to collaborate with her. The project will focus on Charlotte, its history, recent and historical events and people, city architecture, social / demographic structures and much more - based on the artist’s and the student’s interests. The project will involve working with media such as sound, video, photography and performance based events carried out at selected locations in and around the city. This collaborative project will result in an exhibition / installation in Rowe Gallery.
Participation : While there are no special skills required, participation in this project is competitive and interested students must fill out an application form.
Application Deadline: Friday 18th September – email to: sonja@s-hinrichsen.net
Students will be notified: by Friday 25th September.
Class will meet on: Fridays 10 – 12.50 in Macy 107,
Classes start on: October 2nd (a one-day workshop), Oct 9th, 16th 23rd, 30th and 6th November. Extra student participation will be needed from 6th – 19th November to install the exhibit (times to be determined with Sonja)
Exhibition opening: Thursday 19th November, 5 – 7.30pm, Rowe Gallery
Public Lecture on ‘Mapping Charlotte’ : Friday 20th November , 11am, Rowe 130
For application forms email Janet Williams: jwill416@uncc.edu
Sonja will be working on an installation project “Mapping Charlotte” and is offering a Special Topics Class (3000 Level – 2 credit class) at UNC-Charlotte for students who wish to collaborate with her. The project will focus on Charlotte, its history, recent and historical events and people, city architecture, social / demographic structures and much more - based on the artist’s and the student’s interests. The project will involve working with media such as sound, video, photography and performance based events carried out at selected locations in and around the city. This collaborative project will result in an exhibition / installation in Rowe Gallery.
Participation : While there are no special skills required, participation in this project is competitive and interested students must fill out an application form.
Application Deadline: Friday 18th September – email to: sonja@s-hinrichsen.net
Students will be notified: by Friday 25th September.
Class will meet on: Fridays 10 – 12.50 in Macy 107,
Classes start on: October 2nd (a one-day workshop), Oct 9th, 16th 23rd, 30th and 6th November. Extra student participation will be needed from 6th – 19th November to install the exhibit (times to be determined with Sonja)
Exhibition opening: Thursday 19th November, 5 – 7.30pm, Rowe Gallery
Public Lecture on ‘Mapping Charlotte’ : Friday 20th November , 11am, Rowe 130
For application forms email Janet Williams: jwill416@uncc.edu
Monday, August 31, 2009
American Slavery Memorial - Call for Proposals!
UNC Charlotte and its School of Architecture are hosting a student ideas competition for an American Slavery memorial. “Manifestations of Memory” was started as a thesis project last year, and now we are looking to get submissions from students across the country on how a slavery memorial may look. The top 5 designs will be presented by the designers at a symposium and exhibition in the spring of 2010 in front of all the jurors for the competition and a guest jurist yet to be determined. This will be held at UNC Charlotte. There will also be a traveling exhibition of the designs and as well as a publication. This is a great short design project that can be used for a studio or seminar class. The website for the competition is www.asmcompetition.com
Monday, August 24, 2009
Saturday, August 22, 2009
Syllabus Quiz
Note that you may only take this quiz once. Taking it more than once constitutes cheating and a breech of academic integrity.
Link: http://www.proprofs.com/quiz-school/story.php?title=syllabus-quiz_1
Password: syllabusquiz
Note that when you are done, the score will not be correct (I need to assign bonus points since it will not grade the question that asks for your name.)
Friday, August 21, 2009
Public Domain
Generally, you are required to create all of your own images, video and sound. After all, you're an artist! An creative content creator! Nevertheless, there are times when it is necessary or desirable to appropriate material.
In this class, you will be permitted to appropriate material ONLY if it is in the Public Domain and if the project assignment permits it. Figuring out if work is in the Public Domain can be tricky, but it's important to learn to recognize this work. Below, I've included links where you can find Public Domain material.
If you appropriate any material, when you post it to the blog you must note the URL (the link) to the source. If you are not sure if an image is really in the Public Domain, ask me.
Please keep in mind, that just because somebody on the internet claims a work is in the Public Domain, it MAY NOT BE. For example, if somebody scans a magazine cover from last year, posts it online and says it's public domain, that's simply not true. And YOU the user would be legally liable. Just keep that in mind.
Here's some good links to help you figure out what is and isn't in PD:
And here are a few favorite sources of Public Domain materials, but there are many other resources on the internet. (The Wiki page is a good place to look for other PD sites.)
http://www.archive.org (large resource of public domain images, text, video, sounds, etc!)
The Commons (Flickr's Public Domain source of historical photos.)
Lost and Taken (A designer's personal contribution to the world of texture images. Please not that not all images on this site are actually public domain. He states in the blog posting which images are.)
Wikepedia Images (Wikipedia's collection of PD images. Also many GREAT links to other public domain image sources.)
Project Gutenberg (Collection of text and images associated with text of works gone into the public domain.)
Thursday, August 20, 2009
Wednesday, August 19, 2009
Campus Computing
A few points to help you this semester with campus computing:
1) Besides the Macy 106 and Rowe 285 labs, Barnard 105 (open 24/7) has most design software used in this course, plus scanners, printers nd DVD-RW drives.
2) Storrs 230 (also open 24/7) is available to students in the College of Art + Architecture
3) There is additional free web-based software training available to UNCC students. Log into http://ninernet.uncc.edu/tools/skillport with your NinerNet account. Besides tutorials on Adobe software and other software providers, you are also able to search and read software reference books on-line, including the Dummies series! (Sweet!)
1) Besides the Macy 106 and Rowe 285 labs, Barnard 105 (open 24/7) has most design software used in this course, plus scanners, printers nd DVD-RW drives.
2) Storrs 230 (also open 24/7) is available to students in the College of Art + Architecture
3) There is additional free web-based software training available to UNCC students. Log into http://ninernet.uncc.edu/tools/skillport with your NinerNet account. Besides tutorials on Adobe software and other software providers, you are also able to search and read software reference books on-line, including the Dummies series! (Sweet!)
Saturday, August 15, 2009
Photoshop Project 1, Part 2
Project Description - Psychological Self-Portrait
Using your photographs and scanned objects, you will create an expressive, abstract, surreal and/or symbolist self-portrait. You will do four different rough sketches of your composition in your sketchbook. Consider especially foreground, background, and middle ground. Also consider the overall composition, color, value, and line quality.
Set up your photoshop file to 8" x 10" and 300 dpi. If you prefer to make a different aspect ratio, that is fine, but make sure it takes up most of the space of an 8" x 10" page.
The final Photoshop collage will be printed on letter sized paper during class. Jpegs of these images should also be posted to the blog for feedback.
All students are required to give feedback to their assigned group members on the blog by the beginning of class on Sept 17th. (Groups will be assigned in class on the 15th.)
For inspiration, look at the work of the following artists: Frida Kahlo, Alessandro Bravari, Jim Dine, Paul Klee,Joseph Cornell, Emma Amos, Wassily Kandinsky, Jean-Michel Basquiat. , Maggie Taylor, Dorothy Simpson Krause
Photoshop Project 1, Part 1
Project Description
From August 25th (the first class) until September 1st, you are to take 5 or more photographs and collect 1 or more small objects (small enough to fit on the flatbed scanner) every day. This totals 35 or more photographs and 7 or more small objects due at the start of class on September 1st.
Your photographs should be more or less evenly distributed between people/animals, locations, inanimate objects and textures. If you have a digital camera, make sure it is at least 3 mega pixels and that your photos are the highest (largest) quality. If it’s less than that, you’ll want to shoot film instead. If you don’t have any camera, a disposable camera is fine! If you shoot your images on film, make sure the developer puts the images on a CD. Just make sure they are as large and high quality as possible. You must scan in your objects on the flatbed scanner in the lab BEFORE class on the 1st. Bring all photographs and scans of your objects with you to class that day.
Schedule
The assigned Lynda.com readings must be done by the beginning of class. I strongly recommend taking notes and covering all the readings over the weekend. You are encouraged to watch the other videos not assigned. There may be a quiz at the start of class to verify that you have completed this critical work. Quizzes may or may not be open notebook.
8/27 Photoshop CS3 for Designers
3. Understanding Resolution >all headings
4. Making Good Selections> Making selections in Quick Mask mode, Making Color Range selections
5. Working with Brushes> Brush presets> Choosing the right brush for the task, Editing and saving brush settings, History painting
6. Applying, Replacing and Removing Color> Replacing color: Hue/Saturation vs. blend modes, Colorizing grayscale image, converting color to grayscale
9/1 Photoshop CS3 for Designers
7. Combining Image Layers> Gradient blending w layer masks, Utilizing blend options, Creating a clipping mask
8. Making Tonal and Color Corrections> Image adjustment fundamentals, Levels vs. curves
9. Retouching> all headings
9/8 Work on Project 1
9/10 Work on Project 1
9/15 Project 1 Critiques
From August 25th (the first class) until September 1st, you are to take 5 or more photographs and collect 1 or more small objects (small enough to fit on the flatbed scanner) every day. This totals 35 or more photographs and 7 or more small objects due at the start of class on September 1st.
Your photographs should be more or less evenly distributed between people/animals, locations, inanimate objects and textures. If you have a digital camera, make sure it is at least 3 mega pixels and that your photos are the highest (largest) quality. If it’s less than that, you’ll want to shoot film instead. If you don’t have any camera, a disposable camera is fine! If you shoot your images on film, make sure the developer puts the images on a CD. Just make sure they are as large and high quality as possible. You must scan in your objects on the flatbed scanner in the lab BEFORE class on the 1st. Bring all photographs and scans of your objects with you to class that day.
Schedule
The assigned Lynda.com readings must be done by the beginning of class. I strongly recommend taking notes and covering all the readings over the weekend. You are encouraged to watch the other videos not assigned. There may be a quiz at the start of class to verify that you have completed this critical work. Quizzes may or may not be open notebook.
8/27 Photoshop CS3 for Designers
3. Understanding Resolution >all headings
4. Making Good Selections> Making selections in Quick Mask mode, Making Color Range selections
5. Working with Brushes> Brush presets> Choosing the right brush for the task, Editing and saving brush settings, History painting
6. Applying, Replacing and Removing Color> Replacing color: Hue/Saturation vs. blend modes, Colorizing grayscale image, converting color to grayscale
9/1 Photoshop CS3 for Designers
7. Combining Image Layers> Gradient blending w layer masks, Utilizing blend options, Creating a clipping mask
8. Making Tonal and Color Corrections> Image adjustment fundamentals, Levels vs. curves
9. Retouching> all headings
HW - Photos and scans due today
9/3 Photoshop CS3 for Designers
10. Layer Styles and Filter Effects> Using the Layer Style dialog box
11. Automation> Utilizing built-in actions, Recording an action
12. Saving Images for Output> Saving for high-resolution printing, Saving for the web
Work on Project 1
HW - Three rough composition sketches of Project 1 due. (These should be three seperate ideas as well as compositions.)
Work on Project 1
9/3 Photoshop CS3 for Designers
10. Layer Styles and Filter Effects> Using the Layer Style dialog box
11. Automation> Utilizing built-in actions, Recording an action
12. Saving Images for Output> Saving for high-resolution printing, Saving for the web
Work on Project 1
HW - Three rough composition sketches of Project 1 due. (These should be three seperate ideas as well as compositions.)
Work on Project 1
9/8 Work on Project 1
9/10 Work on Project 1
9/15 Project 1 Critiques
Friday, August 14, 2009
Rough Schedule
subject to change
8/25 Introduction to Class
8/27 Project 1 (Photoshop)
9/1 Project 1
9/3 Project 1
9/8 Project 1
9/10 Project 1
9/15 Project 1 Critique
9/17 Project 2 (Photoshop and InDesign)
9/22 Project 2
9/24 Project 2
9/29 Project 2
10/1 Project 2
10/6 Project 2
10/8 Project 2 Critiques
10/13 No classes
10/15 TBA
10/20 Project 3 (Garageband)
10/22 Project 3
10/27 Project 3
10/29 Project 3 Critiques
11/3 Project 4 (AfterEffects)
11/5 Project 4
11/10 Project 4
11/12 Project 4
11/17 Project 4
11/19 Project 4
11/24 Project 4
11/26 No Classes
12/1 Project 4
12/3 Project 4
12/8 Project 4 Critiques
12/15 Final Exam 11:00-1:30 TBA
8/25 Introduction to Class
8/27 Project 1 (Photoshop)
9/1 Project 1
9/3 Project 1
9/8 Project 1
9/10 Project 1
9/15 Project 1 Critique
9/17 Project 2 (Photoshop and InDesign)
9/22 Project 2
9/24 Project 2
9/29 Project 2
10/1 Project 2
10/6 Project 2
10/8 Project 2 Critiques
10/13 No classes
10/15 TBA
10/20 Project 3 (Garageband)
10/22 Project 3
10/27 Project 3
10/29 Project 3 Critiques
11/3 Project 4 (AfterEffects)
11/5 Project 4
11/10 Project 4
11/12 Project 4
11/17 Project 4
11/19 Project 4
11/24 Project 4
11/26 No Classes
12/1 Project 4
12/3 Project 4
12/8 Project 4 Critiques
12/15 Final Exam 11:00-1:30 TBA
Recommended Websites
Online Artworks/Galleries/Designers
http://www.internationaldigitalart.com/links.html
http://uiah.fi/art2/art2_194/homepage.html
http://www.transmag.org
http://www.adaweb.com/home.shtml
http://www.thing.net
http://www.somewhere.org/
http://www.pictoplasma.com/
http://www.post-videoart.com
http://delvemagazine.com/
http://www.furtherfield.org/
http://www.dam.org
http://www.bitforms.com
http://www.atmo.se
http://midwest.org.uk
http://www.baseboard.net/
http://www.planetpixel.de
http://www.learningtoloveyoumore.com
http://www.bornmagazine.com
http://www.visibletheory.com
http://www.romaingruner.com
http://www.mindstorm.com
http://www.charlottewebdesign.com
http://www.cpwad.com
http://www.lobo.cx
http://www.gmunk.com
http://www.plotdev.com
http://www.stockholmdesign.com
http://www.arne-maynard.com
Museums, Galleries, Centers
http://www.whitney.org/artport
http://www.diacenter.org/
http://on1.zkm.de/zkm/e/
http://www.rhizome.org
http://mitpress2.mit.edu/e-journals/Leonardo/home.html
http://www.franklinfurnace.org
http://www.diacenter.org
http://www.artingeneral.org
http://www.paulkasmingallery.com
http://www.thirdplacegallery.org
The Strange and Curious
http://www.homestarrunner.com
http://www.heavy.com
http://www.happytreefriends.com
http://www.zombo.com
http://www.giantrobot.com
http://www.irational.org
http://www.brawnyman.com/innocentescapes/indexbroadband.html
http://www.foundmagazine.com
http://www.woostercollective.com
Art Supplies/Resources
http://www.1001freefonts.com
http://www.fontface.com
http://www.digitalartsupplies.com
http://www.inkjetartsupply.com
http://www.illustratorworld.com
http://www.instructables.com
Individual Artists
http://www.laurieanderson.com
http://www.alessandrobavari.com
http://www.billviola.com
http://www.michaelrees.com
http://www.muttkingdom.com/murphy
http://www.stelarc.va.com.au
http://www.riverbed.com/artworks/
http://www.cremaster.net/
http://www.fantabiography.com
http://www.maggietaylor.com
http://www.dynamodesign.com
http://www.raaf.org
http://people.cas.sc.edu/edwardsj/
http://www.eboy.com
http://www.destroyrockcity.com
http://www.margotknight.com
http://www.bermuda.ch/bureaudestruct
http://www.camilleutterback.com/
http://www.hoogerbrugge.com/
UNCC Graduates
http://www.studiobanks.com
http://www.kheavy.com
http://www.silentuproar.com
http://www.internationaldigitalart.com/links.html
http://uiah.fi/art2/art2_194/homepage.html
http://www.transmag.org
http://www.adaweb.com/home.shtml
http://www.thing.net
http://www.somewhere.org/
http://www.pictoplasma.com/
http://www.post-videoart.com
http://delvemagazine.com/
http://www.furtherfield.org/
http://www.dam.org
http://www.bitforms.com
http://www.atmo.se
http://midwest.org.uk
http://www.baseboard.net/
http://www.planetpixel.de
http://www.learningtoloveyoumore.com
http://www.bornmagazine.com
http://www.visibletheory.com
http://www.romaingruner.com
http://www.mindstorm.com
http://www.charlottewebdesign.com
http://www.cpwad.com
http://www.lobo.cx
http://www.gmunk.com
http://www.plotdev.com
http://www.stockholmdesign.com
http://www.arne-maynard.com
Museums, Galleries, Centers
http://www.whitney.org/artport
http://www.diacenter.org/
http://on1.zkm.de/zkm/e/
http://www.rhizome.org
http://mitpress2.mit.edu/e-journals/Leonardo/home.html
http://www.franklinfurnace.org
http://www.diacenter.org
http://www.artingeneral.org
http://www.paulkasmingallery.com
http://www.thirdplacegallery.org
The Strange and Curious
http://www.homestarrunner.com
http://www.heavy.com
http://www.happytreefriends.com
http://www.zombo.com
http://www.giantrobot.com
http://www.irational.org
http://www.brawnyman.com/innocentescapes/indexbroadband.html
http://www.foundmagazine.com
http://www.woostercollective.com
Art Supplies/Resources
http://www.1001freefonts.com
http://www.fontface.com
http://www.digitalartsupplies.com
http://www.inkjetartsupply.com
http://www.illustratorworld.com
http://www.instructables.com
Individual Artists
http://www.laurieanderson.com
http://www.alessandrobavari.com
http://www.billviola.com
http://www.michaelrees.com
http://www.muttkingdom.com/murphy
http://www.stelarc.va.com.au
http://www.riverbed.com/artworks/
http://www.cremaster.net/
http://www.fantabiography.com
http://www.maggietaylor.com
http://www.dynamodesign.com
http://www.raaf.org
http://people.cas.sc.edu/edwardsj/
http://www.eboy.com
http://www.destroyrockcity.com
http://www.margotknight.com
http://www.bermuda.ch/bureaudestruct
http://www.camilleutterback.com/
http://www.hoogerbrugge.com/
UNCC Graduates
http://www.studiobanks.com
http://www.kheavy.com
http://www.silentuproar.com
Suggested Reading
Bayles, David and Orland, Ted. Art and Fear: Observations on the Perils (and Rewards) of Artmaking. Santa Barbara, Capra Press, 1997.
Beckley, Bill and Shapiro, David. Uncontrollable Beauty: Toward a New Aesthetics. New York, Allworth Press, 1998.
Bolter, Jay David and Grusin, Richard. Remediation: Understanding New Media. Cambridge/London, MIT Press, 2000.
de Oliveira, Nicholas, Oxley, Nicola, and Petry, Michael. Installation Art. London, Thames and Hudson Ltd./Smithsonian Institution Press, 1994.
Gibson, William. Neuromancer. Ace Bookes, New York, 1984.
Greene, Rachel. Internet Art. London,Thames and Hudson, 2004.
Hall, Doug and Fifer, Sally Jo. Illuminating Video: An Essential Guide to Video Art. San Francisco, Aperture/BAVC, 1990.
Johnson, Harald. Mastering Digital Printing. Muska & Lipman, 2004.
Klanten, R. Ed. Trigger. Die Gestalten Verlag,
Kurzweil, Ray. The Age of Spiritual Machines: When Computers Exceed Human Intelligence. Penguin, 1999.
McCloud, Scott. Reinventing Comics: How Imagination and Technology are Revolutionizing an Art Form. Harper, 2000.
McLuhan, Marshall. Understanding Media: The Extensions of Man. Cambridge/London, MIT Press,1997.
Meggs, Philip B. A History of Graphic Design. John Wiley and Sons, 1998.
Paul, Christiane. Digital Art. London,Thames and Hudson, 2003.
Schminke, Karen. Digital Art Studio: Techniques for Combining Inkjet Printing and Traditional Artist's Materials. Watson-Guptill Publications, 2004
Stiles, Kritine and Selz, Peter. Theories and Documents of Contemporary Art. Berkeley, University of California Press, 1996.
Beckley, Bill and Shapiro, David. Uncontrollable Beauty: Toward a New Aesthetics. New York, Allworth Press, 1998.
Bolter, Jay David and Grusin, Richard. Remediation: Understanding New Media. Cambridge/London, MIT Press, 2000.
de Oliveira, Nicholas, Oxley, Nicola, and Petry, Michael. Installation Art. London, Thames and Hudson Ltd./Smithsonian Institution Press, 1994.
Gibson, William. Neuromancer. Ace Bookes, New York, 1984.
Greene, Rachel. Internet Art. London,Thames and Hudson, 2004.
Hall, Doug and Fifer, Sally Jo. Illuminating Video: An Essential Guide to Video Art. San Francisco, Aperture/BAVC, 1990.
Johnson, Harald. Mastering Digital Printing. Muska & Lipman, 2004.
Klanten, R. Ed. Trigger. Die Gestalten Verlag,
Kurzweil, Ray. The Age of Spiritual Machines: When Computers Exceed Human Intelligence. Penguin, 1999.
McCloud, Scott. Reinventing Comics: How Imagination and Technology are Revolutionizing an Art Form. Harper, 2000.
McLuhan, Marshall. Understanding Media: The Extensions of Man. Cambridge/London, MIT Press,1997.
Meggs, Philip B. A History of Graphic Design. John Wiley and Sons, 1998.
Paul, Christiane. Digital Art. London,Thames and Hudson, 2003.
Schminke, Karen. Digital Art Studio: Techniques for Combining Inkjet Printing and Traditional Artist's Materials. Watson-Guptill Publications, 2004
Stiles, Kritine and Selz, Peter. Theories and Documents of Contemporary Art. Berkeley, University of California Press, 1996.
Syllabus
ARTM 2105 – 001
DIGITAL MEDIA
Fall 2009, MW 11:00-1:50, Macy 106B
Professor Heather D. Freeman
Office Hours: Rowe 253 TTh 11:30-12:30
Telephone: 704-687-0184 • hdfreema@uncc.edu
www.EpicAnt.com
www.PersonalDemons.org
COURSE CONTENT
Electronic Media will serve as a comprehensive introduction to computer-aided art making, including digital collage, audio, and animation. This course will acquaint students with the hardware and software used in artistic creation and several methods for digital output. It will also provide a basic vocabulary for discussing electronic media and its role within the visual arts. The prerequisite courses are ARTB 1201 and 1203. These courses must be completed with a grade of C or better before taking ARTM 2105 - Electronic Media.
COURSE OBJECTIVES
The digital realm is an ever proliferating and seemingly borderless territory within the arts. Students will contribute to the broad range of digital art by producing their own works of digitally originated art and by critically evaluating the artists/movements within this field. Students will:
• learn how to use the computer as a tool for visual thinking and communication and to explore possibilities of using the computer for artistic expressions.
• understand several software relevant to digital art including, but not limited to, Adobe Photoshop and Adobe InDesign.
• create inventive and original 2-D animation and sound works.
• critically analyze artworks in and out of class production that (re) define and/or (de) construct the concept of digital art.
• efficiently and creatively produce and print digital images founded upon issues raised in class.
• acquire the vocabulary and perspective to critique and examine the relationship between “new” and “traditional” media.
COURSE FORMAT
In- and out-of-class assignments, in-class demonstrations and quizzes will be employed to familiarize students with the software and hardware. Following this, specific projects will be assigned which require the application of this software for creative output. Quizzes will assess students’ acquisition of this information. This is a three-credit studio course that meets six hours per week. You must be prepared at the beginning of each class for work under my supervision. You must also dedicate a significant number of hours outside of class time each week to properly acquire the material and complete project assignments.
CRITIQUES
Critiques, when we meet to look at finished work, are especially important classes. On the day of critique, students are expected to be ready at the start of class to show their work. Students are expected to share their ideas, observations and beliefs in critique and will be graded in part on their participation. Missed critiques will drop the project by a letter grade. A missing project will warrant an automatic failure on that project; it is always better to show something incomplete than nothing at all.
EVALUATION
Your over-all grade will be determined by the four projects, in- and out-of-class exercises, homework, and quizzes less missed classes. Projects will be graded on:
• Originality of content and concept
• Execution (clarity of your concept’s delivery)
• Technical presentation
• Overall presentation and craftsmanship
• Effort and Experimentation
All work in this class must be original. Violation of this is considered plagiarism and the university code of student academic integrity will be enforced (please visit http://www.legal.uncc.edu/policies/ps-105.html for the entire code). Students have the responsibility to be familiar with and observe the requirements of The UNCC Code of Student Academic Integrity. This code forbids cheating, fabrication or falsification of information, multiple submission of academic or artistic work, abuse of facilities and equipment, and complicity in academic dishonesty. The normal penalty is zero credit on the work involving dishonesty and further substantial reduction of the course grade. There will be no appropriation of images or sounds in this course.
GRADE BREAKDOWN
Project 1: 25%
Project 2: 25%
Project 3: 10%
Project 4: 25%
Homeworks and Quizzes: 15%
less missed/late classes
GRADE SCALE
A 100-90%
B 89-80%
C 79-70%
D 69-60%
F 59-0%
*There will no extensions on projects, no extra credit works, and no resubmissions.
INCOMPLETES
Incompletes are given for documented medical problems and serious situations. If for some reason you find that you cannot complete the requirements of the course, your best option is to withdraw.
SPECIAL ACCOMMODATIONS
Students with disabilities requiring accommodation in this course should contact Disability Services in Fretwell 230 and bring appropriate documentation to the instructor.
ATTENDANCE POLICY
Attendance will be taken promptly at 11:00. If you come to class late, please let me know so that I know you attended. You are allowed a total of three absences. For any class you are absent, you will receive a grade of zero for any in-class-assignments, quizzes, homework or projects for that day. Each additional absence after the three will result in a letter grade reduction of your final grade. Two lates equals an absence. Leaving early twice equals an absence. It is your responsibility to keep track of your own attendance. For example, if you are earning a B, but missed three classes and were late twice, that would drop the final grade to a C. This is non-negotiable and there is no extra-credit in this course. Class experience is an important part of the learning process. The course work is demanding and it builds upon every class. I expect you to come to class and to work to the best of your ability with a positive attitude.
REQUIRED TEXT AND MATERIALS
• Lynda.com texts. $38.00 for the semester. Go to http://www.lynda.com/edu-media/studentlogin.asp and enter your email address and the class code 08142009C9788.
• You will need to follow this blog (http://artm2105002fall09.blogspot.com/). This may require you to create either a blogger, yahoo, google or other account.
• USB Flash Drive, 128 MB capacity of greater (an iPod or other portable hard drive compatible with Mac OSX is also fine).
• Headphones (when working with sound and for listening to Lynda.com videos). Walkman-style headphones are fine.
• Sharpie Permanent Marker (for labeling CDs).
• Sketchbook, no larger than 7” x 10” (you should carry this with you everywhere you go and keep track of your ideas!)
SUGGESTED MATERIALS
• Digital Camera
LAB MATERIALS CHARGE
There is a $25 lab fee for this class. This covers consumables like CD-ROMS and helps offset the costs of printing. This should be paid during the first week of classes.
BACKING UP AND SAVING
Be sure to always back up your files to a USB Flash Drive, a Fire wire Drive, or a CD-ROM or DVD. If you plan on using a USB drive on a PC, make sure the drive is Mac formatted. Never rely on school computers as your primary backup. Always keep backups on USB drives and CD-ROM. Never work directly off a USB drive. Always copy the data to the workspace first and work from that copy. Then, save the revised version back onto the USB drive or burn another CD. If you lose or mutilate your data, you will have to make up the work. In addition, and I cannot stress this enough, ALWAYS BACK UP YOUR WORK, EVERY DAY. There is nothing quite so frustrating as spending hours on a project, finding out your file is corrupt, and it cannot be opened. Especially when this happens five minutes before the critique. ALWAYS BACK UP. If you lose your work, you are responsible and will not be given any grace period for re-doing your work. AGAIN, ALWAYS BACK UP YOUR WORK, EVERY DAY. DO NOT RELY ON THE COMPUTERS IN THE LAB FOR BACKUP.
KEEPING A SKETCHBOOK
• Some homework assignments will be recorded in your sketchbook.
• Take it with you everywhere; make it your best friend and confidant.
• If you have a spare moment, 30 seconds, noodle in it.
• Bring it with you to every class.
• Sketch out multiple solutions to visual problems before you start the actual project!
• Write in it, draw in it, and collect photos and clippings in it, whatever you can cram in there.
BLOG
We will use this blog as a discussion board and to post works in progress for feedback. Please be sure to check this group often for updates and information.
CONCERNS AND COMMUNICATIONS
If you have any concerns about the class, how you are doing, how I am teaching it, any personal conflicts that are making your life difficult in relation to this course, or if you’d just like to talk about art, feel free to e-mail me, utilize my office hours or to schedule another time to meet! If you’re shy about any given matter, you can always leave me a note in my mailbox in the Art Department main office. I am really excited to work with you all and look forward to a fun, challenging and rock ‘n’ roll semester!
DIGITAL MEDIA
Fall 2009, MW 11:00-1:50, Macy 106B
Professor Heather D. Freeman
Office Hours: Rowe 253 TTh 11:30-12:30
Telephone: 704-687-0184 • hdfreema@uncc.edu
www.EpicAnt.com
www.PersonalDemons.org
COURSE CONTENT
Electronic Media will serve as a comprehensive introduction to computer-aided art making, including digital collage, audio, and animation. This course will acquaint students with the hardware and software used in artistic creation and several methods for digital output. It will also provide a basic vocabulary for discussing electronic media and its role within the visual arts. The prerequisite courses are ARTB 1201 and 1203. These courses must be completed with a grade of C or better before taking ARTM 2105 - Electronic Media.
COURSE OBJECTIVES
The digital realm is an ever proliferating and seemingly borderless territory within the arts. Students will contribute to the broad range of digital art by producing their own works of digitally originated art and by critically evaluating the artists/movements within this field. Students will:
• learn how to use the computer as a tool for visual thinking and communication and to explore possibilities of using the computer for artistic expressions.
• understand several software relevant to digital art including, but not limited to, Adobe Photoshop and Adobe InDesign.
• create inventive and original 2-D animation and sound works.
• critically analyze artworks in and out of class production that (re) define and/or (de) construct the concept of digital art.
• efficiently and creatively produce and print digital images founded upon issues raised in class.
• acquire the vocabulary and perspective to critique and examine the relationship between “new” and “traditional” media.
COURSE FORMAT
In- and out-of-class assignments, in-class demonstrations and quizzes will be employed to familiarize students with the software and hardware. Following this, specific projects will be assigned which require the application of this software for creative output. Quizzes will assess students’ acquisition of this information. This is a three-credit studio course that meets six hours per week. You must be prepared at the beginning of each class for work under my supervision. You must also dedicate a significant number of hours outside of class time each week to properly acquire the material and complete project assignments.
CRITIQUES
Critiques, when we meet to look at finished work, are especially important classes. On the day of critique, students are expected to be ready at the start of class to show their work. Students are expected to share their ideas, observations and beliefs in critique and will be graded in part on their participation. Missed critiques will drop the project by a letter grade. A missing project will warrant an automatic failure on that project; it is always better to show something incomplete than nothing at all.
EVALUATION
Your over-all grade will be determined by the four projects, in- and out-of-class exercises, homework, and quizzes less missed classes. Projects will be graded on:
• Originality of content and concept
• Execution (clarity of your concept’s delivery)
• Technical presentation
• Overall presentation and craftsmanship
• Effort and Experimentation
All work in this class must be original. Violation of this is considered plagiarism and the university code of student academic integrity will be enforced (please visit http://www.legal.uncc.edu/policies/ps-105.html for the entire code). Students have the responsibility to be familiar with and observe the requirements of The UNCC Code of Student Academic Integrity. This code forbids cheating, fabrication or falsification of information, multiple submission of academic or artistic work, abuse of facilities and equipment, and complicity in academic dishonesty. The normal penalty is zero credit on the work involving dishonesty and further substantial reduction of the course grade. There will be no appropriation of images or sounds in this course.
GRADE BREAKDOWN
Project 1: 25%
Project 2: 25%
Project 3: 10%
Project 4: 25%
Homeworks and Quizzes: 15%
less missed/late classes
GRADE SCALE
A 100-90%
B 89-80%
C 79-70%
D 69-60%
F 59-0%
*There will no extensions on projects, no extra credit works, and no resubmissions.
INCOMPLETES
Incompletes are given for documented medical problems and serious situations. If for some reason you find that you cannot complete the requirements of the course, your best option is to withdraw.
SPECIAL ACCOMMODATIONS
Students with disabilities requiring accommodation in this course should contact Disability Services in Fretwell 230 and bring appropriate documentation to the instructor.
ATTENDANCE POLICY
Attendance will be taken promptly at 11:00. If you come to class late, please let me know so that I know you attended. You are allowed a total of three absences. For any class you are absent, you will receive a grade of zero for any in-class-assignments, quizzes, homework or projects for that day. Each additional absence after the three will result in a letter grade reduction of your final grade. Two lates equals an absence. Leaving early twice equals an absence. It is your responsibility to keep track of your own attendance. For example, if you are earning a B, but missed three classes and were late twice, that would drop the final grade to a C. This is non-negotiable and there is no extra-credit in this course. Class experience is an important part of the learning process. The course work is demanding and it builds upon every class. I expect you to come to class and to work to the best of your ability with a positive attitude.
REQUIRED TEXT AND MATERIALS
• Lynda.com texts. $38.00 for the semester. Go to http://www.lynda.com/edu-media/studentlogin.asp and enter your email address and the class code 08142009C9788.
• You will need to follow this blog (http://artm2105002fall09.blogspot.com/). This may require you to create either a blogger, yahoo, google or other account.
• USB Flash Drive, 128 MB capacity of greater (an iPod or other portable hard drive compatible with Mac OSX is also fine).
• Headphones (when working with sound and for listening to Lynda.com videos). Walkman-style headphones are fine.
• Sharpie Permanent Marker (for labeling CDs).
• Sketchbook, no larger than 7” x 10” (you should carry this with you everywhere you go and keep track of your ideas!)
SUGGESTED MATERIALS
• Digital Camera
LAB MATERIALS CHARGE
There is a $25 lab fee for this class. This covers consumables like CD-ROMS and helps offset the costs of printing. This should be paid during the first week of classes.
BACKING UP AND SAVING
Be sure to always back up your files to a USB Flash Drive, a Fire wire Drive, or a CD-ROM or DVD. If you plan on using a USB drive on a PC, make sure the drive is Mac formatted. Never rely on school computers as your primary backup. Always keep backups on USB drives and CD-ROM. Never work directly off a USB drive. Always copy the data to the workspace first and work from that copy. Then, save the revised version back onto the USB drive or burn another CD. If you lose or mutilate your data, you will have to make up the work. In addition, and I cannot stress this enough, ALWAYS BACK UP YOUR WORK, EVERY DAY. There is nothing quite so frustrating as spending hours on a project, finding out your file is corrupt, and it cannot be opened. Especially when this happens five minutes before the critique. ALWAYS BACK UP. If you lose your work, you are responsible and will not be given any grace period for re-doing your work. AGAIN, ALWAYS BACK UP YOUR WORK, EVERY DAY. DO NOT RELY ON THE COMPUTERS IN THE LAB FOR BACKUP.
KEEPING A SKETCHBOOK
• Some homework assignments will be recorded in your sketchbook.
• Take it with you everywhere; make it your best friend and confidant.
• If you have a spare moment, 30 seconds, noodle in it.
• Bring it with you to every class.
• Sketch out multiple solutions to visual problems before you start the actual project!
• Write in it, draw in it, and collect photos and clippings in it, whatever you can cram in there.
BLOG
We will use this blog as a discussion board and to post works in progress for feedback. Please be sure to check this group often for updates and information.
CONCERNS AND COMMUNICATIONS
If you have any concerns about the class, how you are doing, how I am teaching it, any personal conflicts that are making your life difficult in relation to this course, or if you’d just like to talk about art, feel free to e-mail me, utilize my office hours or to schedule another time to meet! If you’re shy about any given matter, you can always leave me a note in my mailbox in the Art Department main office. I am really excited to work with you all and look forward to a fun, challenging and rock ‘n’ roll semester!
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