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 . If you have any additional questions, please feel free to email the project’s coordinator, Natasha Creticos at ncreticos@gmail.com.

Photoshop CS3 Quiz 1

http://www.proprofs.com/quiz-school/story.php?title=photoshop-cs3-quiz-1
password: photoshop1

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.)

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:

When works pass into the public domain.

Copyright chart

Wiki definition of Public Domain.

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.)

Student Information

Please complete this Student Information form.
Thanks!

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!)

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

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

9/8 Work on Project 1

9/10 Work on Project 1

9/15 Project 1 Critiques

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

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

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.

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!