NMD 204 Syllabus
LINKS
Visit iTunes U to download lectures to your iPod now
NMD 204 Blogspot
(For all courses lectures and student work examples and more)
ONLINE LECTURES
1. TBA
2. TBA
3. TBA
4. TBA
5. TBA
6. TBA
7. TBA
8. TBA
Deadlines
A 1 JAN 15
A 2 JAN 19
A 3 JAN 22
A 4 JAN 26
A 5 FEB 2
A 6 FEB 5
A 7 FEB 9
A 8 TBA
A 9 TBA
A 10 TBA
A 11 TBA
A 12 TBA
A 13 TBA FINAL
READINGS
R 1 TBA
Readings
R 2 TBA
Readings
R 3 TBA
Readings
R 4 TBA
Readings
R 5 TBA
Readings
(all readings require a minimum 250 word response and must be labeled and formated correctly “R1_NMD204S0_JaneDoe.doc)
EXPECTED OUTCOME: Students will explore the creation of graphic and time-based information structures developing singular coherent structures through the application of principles core to design and synectics. Students will acquire a deep understanding of the process, aesthetics and nature of design. This course establishes a comprehension of the principles and paradigms necessary for creative visual thinking. It furthers the student’s ability to creatively problem-state and creatively problem solve design issues. It is expected that students will gain a creative fluency in the process, concepts and language of design. Students will learn applicable principles and theories of traditional graphic design and those unique to time-based design.
SKILLS AND CONCEPT: Through in-class and formal assignments students will demonstrate an understanding of the following skills and concepts:
• Creative problem stating and solving skills
• Comprehension of methods relative to the synectic design process
• Comprehension of design principles and information structures
• Ability to express information as graphic, time-based, sense data or a combination thereof
• A deep understanding of design convergence principles
• Further development of skillful use of the tools of the information designer
• Comprehension of terms, ideas and issues related to a digital design
• Comprehension of concepts relative to interactive systems, information design and navigation
• Clear communication of content and ideas
• Coherent expression of ideas and opinions in a critical context
• Understanding of creative and applied visual expression through a digital medium
CONTACT INFORMATION: via AIM or iChat dvdviot / SKYPE raphaeldiluzio
OFFICE HOURS: I am available online for text, voice or AV chat. My online screen name is dvdviot, you can use iChat, AIM or other compatible instant messaging program to log in and talk. It is highly recommended that you use iChat to enjoy the full features of what can be done. but other programs will work fine. You can also find me on SKYPE.
GRADING, CLASS POLICIES, AND COURSE EXPECTATIONS
Requirements: Keep up with work, readings, assignments, critiques and postings as per announced deadlines. Participate in at least one of the virtual visits to an artist studio or online discussion session. Complete final project and make final DVD of work for class.
Grading Standards: Meeting the above requirements in an average manner will result in a "C" as the final grade. Better than average effort and execution will result in a "B". An "A" is reserved for demonstrated exceptional creative development, application, innovation, effort, and an in-depth understanding of process. Failure to complete any of the above components of your grade with an average or better effort will result in a "D" or an "F" as your final grade.
Grading: Grades will be given on assignments (not exercises) and at midterm. Your grade is composed of the following separate parts:
• Overall demonstration of growth during this course
• Comprehension of process as it relates to content of this course
• Successful completion of all in class work
• Successful completion of all assigned projects
• Demonstrated ability to take risks relevant to objectives
• Documentation of creative process
• Skillful handling of media (technique)
• Overall quality of work
• Understanding and application of criticism
• Participation in class discussions and labs
• Attendance and punctuality
• Completion of all additional exercises and readings
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•Final Project
Homework: You must complete all of the homework for this class by the announced deadline. Late work is not accepted. All work done in this class will be uploaded to my .iDisk public folder into the NMD 304 folder and the particular assignment folder (see “How to Up Load Files” under the “Technical Instructions” on the main page here is the LINK. When uploading work it must be compressed and submitted as an H.264 QuickTime file format no other file format whatsoever will be acceptable (no Flash, AVI or others). You must keep a copy of the work on file as I will not keep them during the semester. You must also keep a copy as an archive for use in creating your DVD. This file should be in a DV NTSC QuickTime file format. It is recommended that when you export a final project, from Final Cut Pro, After Effects, iMovie or whatever program you work in, as both formats (use the render Que. of a program to select both) DV NTSC (again for archiving) and H.264 (again for the purpose of uploading only).
Digital Document: You must document your process and keep all work done during the semester. This should include all online writings to every aspect of projects done. Additionally, you must document the process by which you conceive ideas and develop your work. All this “information” must be kept and maintained until the end of the semester at which time you are to compile it into a well designed DVD portfolio of your work. You will be using the DV NTSC files you saved to make this DVD (more on how to do this later for those of you who are unfamiliar with this process.
Extra Credit: Any work that you do above and beyond what is required will merit you extra credit and will help you to achieve an "A+". Extra credit does not replace homework or missed classes.
Incomplete: A grade of incomplete may be granted to students who have suffered serious illness during the academic term, resulting in failure to complete all assignments by the end of the quarter. Proper documentation s required and must be attached to the petition for a grade of incomplete. A student who has missed over 25% of the quarter may not be eligible for an incomplete.
Attendance: As this course has the unique structure of having some of its content recorded and posted on iTunes U you can keep up with critiques, lectures, and assignments you may miss due to absence. As in any class attendance is mandatory and two unexcused absences will lower your grade one complete grade point. Three unexcused absences will result in a grade of no higher then a “C”. Each successive absence will further affect your grade. The accumulation of absences can lead to failure of this class. Chronic late arrival will also effect your grade.
Important: This syllabus is not a contractual obligation between the professor and the student. It is subject to coherent change at the discretion of the professor. Please keep this syllabus with you throughout the semester.
Academic Honesty: Academic honesty is expected. Plagiarism is unacceptable in this course and will result in a failing grade. “Although a writer may use other persons’ words and thoughts, they must be acknowledged as such.” Joseph Gibaldi and Walter S. Achtert, MLA Handbook (Modern Language Association) 1977, p. 4.
Students With Disabilities: If you have a disability for which you may be requesting an accommodation, please contact either me or Ann Smith, Coordinator of Services for Students with Disabilities (Onward Building, 581- 2319), as early as possible in the term.
Instructional Materials and Methods:
IN CLASS NOTES: You are required to take lecture notes and post them for each class session and then post them within twenty-four day to the proper FC folder. Specifics details for posting your course notes are explained below.
LECTURE RESPONSE AND BLOGGING
You are required to attend all classes. If you are unable to attend then you can watch the session posted at iTunes U. You may also be required to watch pod cast lectures posted at there as well. You are required to post a “response” to the lecture by midnight the following night. Your post should include all lecture notes taken in class and transcribed and a minimum paragraph description of the lecture in a narrative form (prose structure). The purpose of which is twofold: first, to get ideas deeper into your thought by reinterpreting them in a narrative form; second, to get you into the habit of understanding and creating narrative forms. Your posts should be made to:
WEB SYLLABUS
It is your responsibility to check this website for deadlines, assignment descriptions, changes and other information. Generally it will be best to check on Monday and Tuesday mornings.:
Format For Responses And Posts: You are responsible for full participation in the blogs as described above. Full participation translates as responding initially to the lecture by the prescribed time and at a minimum one follow-up response to someone else's post. I consider a response to be- well reasoned and with an informed, well supported opinion. Journalistic comments such as, “I agree with what Ellen says when she says …condition of the state of…," will not be considered as acceptable nor will such as, “I really like (or dislike) …” I am looking for considered responses. You must also read everyone else's posts then choose at least one to respond too, again a considered response (see above).
Instructions For Using The Blog:
1. Sign up for blogger (or if you have any gmail account, that will work)
2. Log-in and go to your blog NMD204:
3. Within twenty-four hours of each class you are to post a reflection, comment, meditation or thought on anything covered in that days class. Additionally, you will need to read each others comments and make a second posting in response to someone else’s comments. You only need to have two posts per class but you are not restricted to this and can make as many contributions to that day as you like. It is important to keep up with the blog for each class.
GRADING
45% Final
30% MIDTERM
25% PARTICIPATION
Based on in class attendance and discussion, your posting to the weekly "notes" FirstClass conference and your weekly posting to the class reflections blog.
READINGS:.
Required:
Towards a Philosophy of Photography" By Vilem Flusser, Reaktion Books ISBN 978-1-86189-076-4
Possible second book may be Deep Time of the Media, Siegfried Zielinski, MIt Press, Cambridge Mass and London England, ISBN 978-0-262-74032-6.
There may be a carefully selected set of readings given to you throughout the semester. All readings are chosen to “fit” in with a particular project or topic of discussion. Whenever a reading is distributed (some online other Xeroxed) you are to read it and post a response within twenty-four hours to the appropriate FirstClass folder. Once all postings are up you are to read everyone else’s initial posting. Then you are to respond to either three (minimum) other postings or respond “in thread sequence” to a particular posting (again at least a minimum of three times). On a specified day, after the readings and postings we will hold a discussion of the readings and responses in class.
Suggested: Metaphor and Thought / Tolstoy’s Dictaphone / Guttenberg Elegies: Reading In A Digital Age / The Gift / Grammars of Creation / Undecipherable Beauty / The Botany of Desire / The Poetics of Space / The History of Senses / Emergence: The Connected Lives of Ants, Brains, Cities, And Software / Information Arts: Intersections of Art, Science, And Technology / Swarm Intelligence
ASSIGNMENTS: (Note: There are alternates to several assignments, I will change assignments form one semester to the next or add new ones. I list them all only for you to get an idea of what may be ahead during the semester)
LABELING HOMEWORK:
Use the following order in labeling work, assignment number, last name, first initial- or name- NMD204 example:
A3diluzioraphaelNMD204.jpg
All fixed image work (stills) is to be done in JPEG format at 72 ppi minimum 800 x 600 unless otherwise specified.
All time-based work (animations, movies) is to be done in two formats; DVNTSC 720 x 480 saved for archive and end of semester turn in; H.264 for upload for critique and review, unless otherwise specified. No, Flash, AVI or WMV files are accepted
Assignment 1: Why is design and why do we design?
OBJECTIVES: Simply answer the above question and write a three to four paragraphs clearly stating your answers. Submit this to the "A1" folder in the NMD 204 conference. COnsider the question well, do not plagiarize, research and form your own opinion, use 14 point type (easier to read) black no colors please and check for spelling.
Assignment 2: Personal Graphic and Abstract Mark
OBJECTIVE:
Create a "graphic" mark that represents one singular aspect of who you think you are or specific thing you think about yourself. Think about a word (generally an adjective) that you think best describes or expresses something about you.
Find a way outside of the computer to make a mark (brush and ink, paint or... rag with ink, oil, water in other words any way you can find to make a mark on a surface).
Then sit and concentrate on the word (idea-adjective) that you choose to describe some aspect about yourself. Focus hard and fill yourself with intention. Then make your mark with the singular absolute intention of expressing the idea you are concentrating on.
Afterwards, scan or digitally photograph the mark. You may clean it up in Illustrator or Photoshop.
SEE EXAMPLES AT iTunesU :NMD204 EX A2 -A Personal and Graphic Mark
REQUIREMENTS/CHALLENGE & GOALS:
• The mark can contain no recognizable symbols or images whatsoever nor can it be a "series of abstract marks that form a recognizable symbol or image. (no numbers. letters, skulls, stop sighs, etc...)
• You may only work in black and white, no color nor gray
• You must try to communicate/express as much about your self through this “mark” as you can
• Make your mark interesting, visually appealing
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•Be creative, thinking how can you express content in an abstract mark
FORMAT:
• Work in an 800 x 600 at 72 ppi (final output working size is up to you) area, landscape or portrait.
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•Optimize your file and save as a JPEG.
Assignment 3: FIGURE / GROUND—CONCRETE / ABSTRACT:
BACKGROUND:
Communication in many forms is perhaps one of the "specialties," of our species and is among the many unique abilities we have. Part of communication involves image making in various ways whether it is in the words we use to describe; sounds we make to conjure or images we create to convey. Each of these has various levels of "concrete" or "abstract" levels of representation.
When I use the term concrete I am referring to a way of showing or describing a thing that is as close to an exact re-presentation of the thing as is possible through a method of presentation of description (image, word or sound).
In using the term abstract, I am speaking of a level or degree of derivation from actual description or representation of the thing. Typically an abstraction of a thing is quite removed from the representation of the thing.
In speaking about abstraction we have to basic kinds one is more of a distillation (see below) while the other is completely non-objective. Non-objective means the abstract image has no relation in any way to any objective, or recognizable form.
As for the first kind of abstraction, distillation, it needs be be understood any re-presentation of a thing through a means of representation is a kind or degree of abstraction.
When one sees a chair before them in the physical world, it is of course "the thing itself" they are seeing; a chair. Any verbal description or a photo-realstic image of a chair, no matter how exact or precise, are not truly a chair themselves but only re-presentations of the idea of chair. As such, they are already one level or degree of abstraction from the physical chair.
The true concept of abstraction is to distill the thing down even more sometimes to what might not be easily recognizable as the original thing. In fact, an artist can make what seems to be a completely random 2D mark or 3D shape (or even a sound) and call it "chair," and in terms of the concept of abstraction we must accept it as such.
NOTE: Plato carries the argument even further to say that any chair that has been made (physical or actual) is not the "true or real" chair but only singular manifestation of the idea of chair which is the real chair. As such, it is once (some argue two or even three times) removed from the idea of chair and therefore from a "true form."
OBJECTIVE:
In this assignment, you are to choose a single word that you will create a series of images around that demonstrate the ideas and concepts of figure ground and concrete and abstract as discussed in the lecture. Choose a noun that is a ”thing” like cup. Fork steam. Panda, frog etc…
SEE EXAMPLES AT iTunesU :NMD204 EX A3 -A Figure Ground
CHALLENGE & GOALS:
• To clearly represent the word but in a “designed” manner
• To maintain a contrast between figure and ground
• To maintain a contrast between concrete and abstract imagery
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•To create simple “fast” designs
• To demonstrate several; instances of "stable figure-ground" relationships
• To demonstrate several instances of "ambiguous figure-ground" relationships
• To demonstrate a majority of instances of "reversible figure-ground" relationships
CONSIDER:
• What was discussed in the lecture and the images you saw
• How can you use the stark contrast of black and white to create images that are of unstable or ambiguous figure ground relationships?
• Push yourself in terms of making your images
• Location and placement of images
• Proportion or ratio of black to white
• Keep your designs simple
FORMAT:
• Working in whatever program suits you to make simple images make 20 images exploring a word.
• All images must be done in quadrilateral forms that are the exact same size, proportion and orientation as one another.
• Do these 4 across and 5 down with a equal ”gutter” between each quadrilateral shape
• All work must be solid black and white only
• Save your final work as a jpeg file make sure you label the file correctly “A3raphaeld204.jpg” (assignment number first name last initial).
• Optimize your file so it can “zoomed” but is not a big file
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•Format, JPEG 72 ppi min 800 x 600 or working size
Assignment 4: THE WORD AS IMAGE CONCRETE / ABSTRACT
OBJECTIVE:
Choose a single word, use only a noun, that can be specifically represented as a simple solid graphic image, such as the examples at iTunes U, those shown in class or the attached sample "bugs." Using this image surround the letterforms of the word you selected to create a reversible figure ground relationship. You are also to choose a Typeface, and one font from that face that you use to surround with the images. You must try to maintain the integrity of the font used.
SEE EXAMPLES AT iTunesU :NMD204 EX A4 -A The Word As Image
CHALLENGE & GOALS:
• Create original graphic images (do not steal or re-purpose).
• To clearly create an reversible relation between figure and ground
• To allow the perception of the actual word to "flicker" between the graphic images and the "word" itself
• To maintain (as much as possible) the integrity of the selected letter form (i.e. Helvetica)
•To create a strong contrast between concrete and abstract imagery
CONSIDER:
• What was discussed in the lecture and the slides you saw
• Push yourself, do several concept sketches before beginning
FORMAT:
• Working in whatever program suits you to make simple images (as per examples given).
• All work must be black and white only
• Optimize your file so it can bee seen close but is not a big file size (photoshop can be a killer)
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•Make the image size big to fill the page and give us the best image
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•Format, JPEG 72 ppi min 800 x 600 or working size
Assignment 5: TYPES OF PROBLEMS / Visual and Intellectual Unity
PART 1. Consider the examples shown in class. Choose your own word (verb-action or adjective-descriptive is best) to “Illustrate” using only letterforms altered through their figure ground relationship. You may not use additional words or symbols. You must maintain the integrity and “readability” of the typeface. (see the example of “DIVIDE attached).
PART 2. (B&W) Place a single letter “H” (upper or lower case–– your choice) inside a rectangular format. Use a simple san serif face like Helvetica. Place the letter and its values (Black and White only) so that the “H” becomes ground instead of figure. You can use solid black and solid white only (no grays nor linear hatching). Practice first with thumbnails before working in the computer.
PART 3. (Color) Place another single letter “H” (upper or lower case–– your choice) inside a rectangular format. Use a simple san serif face like Helvetica, this time you work with color. Place the letter and two colors (not Black or White) so that the “H” becomes ground instead of figure. You can use any two solid colors (no B&W, grays nor linear hatching). Practice first with thumbnails before working in the computer.
PART 4. Repeat the Helvetica (or other simple san serif face) letter “A” in a symmetrical pattern. Determine the following: What do you see as figure? Why? Can you change the figure into ground? You can use solid black and solid white only (no grays nor linear hatching). Practice first with thumbnails before working in the computer.
PART 5-8 Do the following in 4 by 4 unit squares. Using pure letterforms or letterforms as shapes (no images) simply show/illustrate the following concepts: “vulnerable” • “discomfort” • “uncommunicative” • “less lonely than one”
SEE EXAMPLES AT iTunesU :NMD204 EX A5 -A Types of Problems
FORMAT:
•Working in whatever program suits you to solve the problems (Illustrator or Freehand are best) or by hand but final work must be digitized.
• Present all finished works in one large JPEG document arrange these five things eloquently in any manner, make sure you are working in 72 ppi resolution at a sizable scale
•Make sure you label the files correctly
Assignment 6: 101 Solutions
OVERVIEW: A visual creative person is often called upon to solve challenging problems. These problems can be generated from seemingly mundane instances or references. The solution to these (and many other) visual design problems often requires the discovery of unique and “fresh” visual solutions to what may seem like tired subjects.
The challenge of 101 Solutions demands that you be willing to take risks, be playful and become deeply experimental, pushing you conceptual skills to the limit. Endurance plays a major role in this problem in that you will find yourself nearing a complete level of creative exhaustion. Use the following seven levels of the creativity process:
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1.Question: Frame a question around the idea, challenge, goal or problem.
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2.Investigation: Examination, Brainstorming, Sketching or Research.
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3.Saturation: Knowing to stop your Investigation.
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4.Gestation: Meditating on your investigation and research deeply considering what you have found, thought of, brain-stormed and so forth.
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5.Illumination: The sudden “ah ha,” or “seeing” or realizing that one great idea from all your efforts so far) at which point you have to become resourceful in your approach to the solution. Perhaps the hardest step, which in real-life you can take as much time in the world to come up with but in school or on a professional job you must hurry towards under deadline. You must be able to let one solution one idea bubble to the surface and see it in a momentary flash as the best one of all.
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6.Making: The second hardest possible step and one where many fail as finally committing to making something is difficult. Many people come up with good ideas but never do anything with them.
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7.Critique: A critical dialog of the solution through self evaluation, testing, public opinion or group (peer) critic, evaluation or review.
(NOTE: The above process in creative problem solving in art and design is almost exactly similar to the scientific process. Also, each step is discrete and individual but sometimes you may seem to skip steps or move through one so quickly it seems as if it has never happened or is part of the next. In one sense the steps are all part of one whole process, the whole being a sum of its parts. Finally, even though there are these discrete steps it does not mean that you can often intuit an answer to any problem in a sudden inspired moment.)
The effort and demand you make in this project to find an excessive amount of preliminary ideas could be exhausting but it can lead you to that interesting and most critical point where attention begins to wander and impatience sets in. In those kinds of moments truly inspired ideas can come; when you distract yourself from the intellectual process, just enough to allow for really wild or “out-of the-box” thinking to happen. In just completing this assignment you will, push your limits, know your own possibilities and abilities.
PROBLEM: Select from one of the following subjects and visually interpret it 100 different highly creative graphic ways to solve it through the most original ways as you can:
forkgiraffe
skateboardsneaker
bagiguana
cloudant
frogstrawberry
appledandelion
tulipgumball machine
lobsterrooster
CONSIDER:
All principles of design such as, cropping, placement, intersecting, color, texture, scale, framal reference, fragmentation, etc. You may use any program(s) or traditional mediums (pencils, paint and such) and or methods whatsoever including collage and photography-- just scan them in. But:
• 60 % (at minimum) of your solutions must be original.
• 20% (at maximum but altered digitally by 35%) of your solutions may be photographic.
• 20% (at maximum but altered digitally by 50%, so don’t just download an image) of your solutions may derived from internet image searches.
Really try to have as many of them have reversible figure ground relationships as possible.
You can work in any colors you like.
I prefer original work.
CONCLUSION: The 101st design is your “sixth state of the creative process,” based on what you have done design from the first 100 come up with one you finally think is absolutely the best (the 101st can be completely new or one selected from the first 100, one that you think was truly the best of them all) and make this one the absolute best it be. It should be done 2-3 times the size (scale) of the others and placed on the same page with the others in a nice design.
FORMAT: You must decide on an initial standard size for each of your explorations not to exceed 4 inches nor be less than 1 inch. All subsequent designs must be the exact same size. You should have all on a page with at least what would equal a 1/4 inch space between them. Number each one in order of completion (outside picture plane). Presentation is important! Use Illustrator or Photoshop to make a "drawing" board the size you need and then proceed to layout your image areas. Do not let images run to the edge of your final entire image maintain at least what would equal a half inch. Import images from Photoshop or combine Photoshop and Illustrator or simply work in Illustrator. Save a copy of your final document exporting it as a high quality (maximum) JPEG 72 ppi at whatever size is necessary within 1024 x 1287
SEE EXAMPLES AT iTunesU :NMD204 EX A6 -A Types of Problems
Assignment 7: THE 27TH LETTER
OBJECTIVE:
You have worked hard to understand basic elements of 2D Design in particular Figure / Ground relationships. You have also been introduced to concepts around creative process and idea development. The following problem is a simple one in theory as you are only required to come up with one single solution. That is to design the "27th" letter of the English Alphabet. You are to do this with as little time as possible which is why you will only have 24 hours form the point in time this email goes out, less if you read it late.
RESTRICTIONS::
• Choose one font such as ,Garamond Ultra Light Condensed, Gil Sands Bold or Bodoni Medium Extended design your letter to be consistent within that design and visual aspects of the particular font you have selected.
You are limited to using only a font from Old Style, Roman, Transitional, Egyptian, Modern or Contemporary fonts, not Display or Unique fonts like Circus, Cactus and such. Remember the styles from the lecture for A5 (please refer to your notes on Type History and Fonts).
REQUIREMENTS::
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•Create both an Upper case and a Lower case letter.
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•Show the Upper case in the A-Z Alphabet.
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•Show the Lowercase inthe A-Z Alphabet.
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•Include a description as to your choice in creating letter (i.e., “I choose to make the a letter for the “ch” sound as in “check, chomp...”).
• These four elements (uppercase lowercase alphabets, separate large letter forms, sentance use ans description). should all be placed in a well designed manner
• Maintain exact "X" height (see attachment "parts of a font"), ascender, descender relations also make sure the the maximum width of the letter does not exceed the M or W of your font (which ever is wider).
--x = height size of the body of a letter without ascender (that part which extends above the height of the lower case "x" in a font) or descender (that part which extends below the bottom of the lower case "x" in a font) based on a lower case x for lower case letters or parts which are below upper third.
Think of the vertical stress of a font due to the stronger vertical emphasis the eye is drawn up through the font, instead of along a line of type. Remember, serif vs. san serif due to the stronger horizontal emphasis again the eye is drawn along the font, instead of up a line of type.
• Write a short definition of why you created the letter and its sound (such as many sounds we currently use "ing," ch," "tion," "pre," such as any prefixes or suffixes).
• Use your letter in this (modified) sentence or another modification of it or one that you think will aptly display it with other words (using entire alphabet):
"The quick brown fox jumped over the lazy dog causing a commotion and leading to changes that those who had foresight predetermined would happen."
• Strongly suggested that you work with vector based graphics (Illustrator or Freehand).
• Work only in Black and White
• Think Think Think, Create Create Create.
• DO NOT SIMPLY COMBINE TWO EXISTING LETTERS! Really push yourself.
CONSIDER::
You are making a "New" letter, it must be based on a sound (like the sound "s" and "p" make in special, speak, spiral and so forth or typical prefix or suffix sound [tion, ing, ize, pre, pro...]. Do not base it on a little used word. Think, conceptually that we (English Speakers) need a new letter to add to shorten writing (or texting time). Also note how the J,U,W are recent (relatively speaking) additions to the English Alphabet.
Also try to avoid thinking in the following "box;" that the sound, such as "ing" must be a letterform made from the combination of "I," "N" and "G." Letters were formed in the abstract from sound originally. It is how we come to be acculturated that we think the letter "S" when we hear the "esss" sound.
Be free in thinking a new letter form, sketch sketch and then a bit more then break then return and find the solution in your "research"
Your uppercase letter must be different from the lower.
Please list the name of the Font used on your design.
Be visual, think visually, critically analyze what you are doing visually, steer away from trying to intellectualize this problem. In the end your new Upper case letter and Lowercase letter forms (different from one another) should not visually stand out from the A-Z "heard."
IMPORTANT WORK METHOD:
What I would do is vectorize the entire font alphabet your are using then work with combinations (union, subtraction etc...) you distort add skew anything but it really must keep in design context with the font you choose.
For definitions and more information about the English Alphabet see:
FORMAT:
• JPEG 72 ppi in 1200 X 1024.
Show the entire alphabet in one row upper and one row lower case (no numbers or symbols) with your 27th letter somewhere in the alphabet at about 24 point. In both instances it should be proportional to the other letters.
Separate out you 27th letter Upper case and Lower case in about a124 point size or larger (but not too large) and place in a well designed way on the page along with the two entire upper and lower case alphabets, the sentence and the description.
Assignment 8 PART 1 (MIDTERM): A Shape Story: Storyboards and Animatics
For the midterm you are to tell a “shape story,” by creating a visual story about geometric shapes. The midterm has two parts the first of which is to create a storyboard (see definitions) with a sequence of graphic panels that shows the main visual elements of the "shape story" that you will tell with guidelines set forth below. The second is to transform your static storyboard into an animatic (see definitions) using any software you prefer. I strongly suggest Aftereffects for the creation of the animatic and Illustrator and or Photoshop for the images.
OBJECTIVE:
To create a storyboard that visually shows the important elements of your “shape story” which can be about one or more geometric forms. Then you are to transform the static storyboard into an animatic that indicates movement and the relation of image to the sound you will use in the project (after break we may animate these in A9). The story or narrative is to be abstract in the sense that it need only visually show the very basics of a narrative, beginning, build up, climax and end (see description of story under “Problem”).
CONSIDER:
In creating your abstract shape story you must remember that it is a simple thing not a complex story with a typical character arc and most important you must not really “tell” (no words) but show everything visually.
For this particular assignment you must think primarily of the visual action and movement of graphic images. Be clever and creative in your use of figure ground spatial relations.
Consider everything you have learned and done so far in class with the elements of design especially figure-ground relations and take this to the next level by working graphically with "time". You will accomplish this by making a storyboard that in a sequence of panels visually tells your story. This storyboard should be highly "designed" and graphic and utilize all you have learned about figure ground (stable, reversible and abstract). Keep it visual; abstract with action and strong contrast that really explores figure ground relationships in "time." In fact, you may even try to use the types of figure ground as narrative metaphors in your story.
Most film or animation traditionally is 24 frames per second (fps) video is 30 fps, In terms of how the eye sees motion a minimum of 16 fps is necessary in order for "persistence of vision” to occur and to see motion without “flicker.” This means at the rate of 16 fps the eye still perceives smooth motion. You can attain motion at lower frame rates 10 and up but you can get distracting visual flicker.
GUIDELINES:
• You do not have to try to tell a story typical story in terms of character. Instead be abstract and consider only the basics of what constitutes the narrative structure of a story;
-- beginning (or introduction)
-- build up (the arc of action, narrative, plot or conflict),
-- climax (the point where something happens, something that you have led up to in terms of this assignment it would be a visual event)
-- conclusion (the ending, usually some kind of short decline in action or event after climax)
• Intellectual concept is not as important as visual concept; focus on the visual narrative.
• You are to work only in Black and White but if you like you may use one other color for a dramatic, or climatic effect.
• You are to work under the assumption that you will be making a final animation of 12- 30 seconds at a frame rate of 24 fps. As such you should have about 1 panel for every second of animation in your storyboard.
• Animatics should be the exact length of you final animation and should include a (simple) soundtrack.
FORMAT:
Storyboards are to be saved in a final document exported as a high quality JPEG 72 ppi at the size is necessary within 1024 x 1287
Animatics should be exported in the two following formats as
QuickTime movies (“.mov” files).
-- DVNTSC at 720 x 480 (for archive and future use) 24fps
-- H.264 320 x 480 ( to upload for web viewing) 14fps
All audio should be mono at 11- 22.00o KHz
Do not save and submit files in Flash or AVI format.
DEFFINITIONS: (from wikipedia)
Storyboards
Are graphic organizers such as a series of illustrations or images displayed in sequence for the purpose of previsualizing a motion graphic or interactive media sequence, including website interactivity.
The storyboarding process, in the form it is known today, was developed at the Walt Disney Studio during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios.
Animatics
In animation and special effects work, the storyboarding stage may be followed by simplified mock-ups called "animatics" to give a better idea of how the scene will look and feel with motion and timing.
At its simplest, an animatic is a series of still images edited together and displayed in sequence. More commonly, a rough dialogue and/or rough sound track is added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working effectively together.
This allows the animators and directors to work out any screenplay, camera positioning, shot list and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage can avoid animation of scenes that would be edited out of the film.
Often storyboards are animated with simple zooms and pans to simulate camera movement (using non-linear editing software). These animations can be combined with available animatics, sound effects and dialog to create a presentation of how a film could be shot and cut together.
Assignment 10: 5 X 5 Animated Transitions
Use all five of translations you did in the last project and create an animated transition for each set from one symbol to the other in Aftereffects or an animation program of your choice although final result will be a QuickTime file.
METHOD:
• Work only in black and white
• Work only at 15 frames a second (fps) or 30 fps
• Create (“draw”) 45 (at 15 fps) transitional steps making each transition 3 seconds long
• Re-import the 45 second 15 fps movies you create and re export at 30 fps with frame buffering (refer to lecture)
Assignment 11: Tutorial Research / Self Motivated Learning
The final project for this class will require that you go deep into working with animation, motion graphics and graphic effects. To do this will does not require a deep knowledge of a program like After Effects. But it does require that you know how to be a self-motivated learner. When you leave school and working as an individual artist or professional you will encounter challenges that you are not necessarily prepared for. Rather then turn away from then or find easy solutions that create less dynamic results it is important that rise to a challenge. Often, to do this requires that you become highly motivated to research hand explore possibilities to learn while working new solutions.
OBJECTIVE: In this project you are simply to research online and find a dynamic advanced tutorial using After Effects. You are to learn it then to modify it to make it original. After this you will present the tutorial to class teaching others how you did it.
REQUIREMENTS:
• Find a tutorial and learn it then modify it
• Create a comprehensive description of what you did in your own words (“instruction set” discussed in class)
• Post your instruction set and all necessary files to the assignment folder
• Present your tutorial in class
Assignment 12: Type Story
OBJECTIVE: This project is built directly upon the last animated AE project and the exercises you have been doing with AE in class. You will create an animated-"story" around a Type Face.
First research and select a Type Face like (Trebuchet, Helvetica, ect., or ones shown in example) that has either an interesting history behind it or is so unique that it calls to mind a narrative (like the fonts Hero, and Carnival).
Then story board out a simple outline of the animation you will do using the font.
Animate the story "in-time" to a song (or portion of a song) preferably an instrumental one without lyrics.
Use only the Font its, symbols numbers etc to do the animation (you can use the Bold, Italic Condensed etc Fonts in the Type Face)
PROBLEMS:
• How do you use letter "characters" to create a complex animation and narrative?
• What special attributes of After Effects alone or in combination with Illustrator or Photoshop can you (discover) use to make your animated type-story dynamic and interesting.
• Building upon what we have learned about figure-ground, abstract-concrete, contrast etc... how can you incorporate these elements of design into your animation.
• Thirty-seconds is the bare minimum time for this piece but you may go longer.
CONSIDER:
• Work at 24 frames per second (FPS) or 30 if you prefer.
• You may add color as long as it enhances design and advances the narrative
FORMAT:
• Your final project MUST BE DELIVERED in QuickTime format NO MATTER what platform you natively are working on. So take the time to bring your PC files to a MAC and convert them or find a way to do so on a PC (there are ways).
Assignment 13: TBA
ALTERNATE ASSIGNMENTS
Assignment 2: (ALTERNATE): The Image of Sound
Consider the in class activities and lectures on the basics of semiotics and creative group “brainstorming”. With this in mind, you are to accomplish the following:
Given a list of concrete descriptive items or situations below, select three things from them and either, illustrate them or graphically represent them.
Be as abstract in your representation of the imagery as possible. Yet still communicate the idea clearly, through symbolic or indexical representation.
Think, color, mark, and again, index and symbol, avoid iconic relations unless they are indirect.
Think outside your own limitations.
Avoid the obvious
Avoid clichés.
Choose 3 out the following five and then create 3 images per sound.
The sound of:
--- a caterpillar crawling across tin foil
--- three pianos cascading over a water fall
--- the inside of a lightless sound proof sealed box
--- seven dwarves dancing the polka in a refrigerated truck
--- a rooster in a blender
--- popping corn under the sea.
FORMAT: Submit your work as a JPEG document, it should be ion a minimum 800 x 600 with a margin on all sides. Your representation of the images should be in three rows of three identical quadrilateral shapes. There should be only one “sound” per row reading from left to right. Work only in black and white. Work creatively. Format, JPEG 72 dpi min 800 x 600 or working size
Assignment 4 (ALTERNATE): ICON- INDEX- SYMBOL & YOU / The Semiotic Mark
OBJECTIVE:
• Based on in class lectures discussions and examples given this week, create a recognizable mark (or interconnected set of marks) using what we discussed from the idea of "Icon Index and Symbol".
CHALLENGE & GOALS:
• To make a "mark" that clearly communicates something about you
• To use the ideas of semeiotics (icon, index and symbol) to establish a personal mark
• To maintain a contrast between concrete and abstract imagery
• To create strong eloquent simple “fast” designs
• Use only solid black and white consider figure ground relations
CONSIDER:
• What was discussed in the lecture and the images you saw
• How can you use the stark contrast of black and white to create images that are of unstable or ambiguous figure ground relationships?
• Push yourself in terms of making your images
FORMAT:
• Working in whatever program suits you to make your mark
• All work must be black and white only
• Save your final work as a 72 DPI PDF
• Optimize your file so it can “zoomed” but is not a big file
• Make the page size 800 x 600 (portrait or landscape)
Assignment 5 (ALTERNATE): Visual and Intellectual Unity: Image The Word
Consider the discussion in class and the attached example. Choose a word (adjective, action or descriptive is best--nouns should be avoided) to “Illustrate” using only letterforms altered through their figure ground relationship or relative to one another. You may not use additional images or symbols. Do not alter the basic integrity of the font. You must maintain the integrity and “readability” of the typeface. (see the example of “DIVIDE attached).
RULES:
• Choose an existing typeface (do not make one up)
• Work only in black, white and shades in between.
• Visually represent the intellectual idea of the word using type forms
• Be creative and work to make a strong interesting image
• You must maintain the integrity, character and “readability” of the typeface used (again see example)
• Work in landscape format
• Try to go beyond the obvious and be as creative as possible
• Grading will depend on innovation, complexity, concept and how darn good it looks
FORMAT:
• Save your final work as a “.pdf” making sure it is optimized
Assignment 6 (ALTERNATE): THE SOUND OF IMAGE/ CONCRETE
AND ABSTRACT IMAGERY
OBJECTIVE:
• Consider the in class activities and lectures. With the “brain Storming sessions in mind, you are to accomplish the following: Given a list of concrete descriptive items or situations. You will select three ideas from this list and either, illustrate them or graphically represent them in the abstract. You must do 3 variations of each idea. Focus on making them not solely as an image of the thing described but more importantly make an image of it as sound.
• 1 Rooster crowing opera
• 3 Amazon parrots in a vice
• 5 Dalmatians running on thin ice
• 7 saxophones in a wind tunnel
• 11 butterflies in a cement mixer
• 13 pygmy elephants falling through a thunderstorm
• 15 Canadian geese in a pool of honey
CHALLENGE & GOALS:
• Think––color, mark, index and metaphor, avoid iconic and symbolic relations unless they are indirect.
• The objective is to be as abstract in your representation of the imagery as possible. Yet clearly communicate the idea.
• Avoid the obvious.
• Use original material or material
CONSIDER:
• Really be as creative as possible
• Work and think outside your own limitations
• Avoid intellectual solutions, words and symbols
• Avoid clichés
• Do several concept sketches before beginning
FORMAT:
• Working in whatever program suits you to make simple images
• Present all nine finished works on one page in a PDF document. Each image should be done in a size consistent with the others
(i.e., all 2X3 or 5x7 etc.).
• Work can be in B&W color Save your final work as a “.pdf” file make sure you label the file correctly.
Assignment 6 (ALTERNATE): Types of Problems
OBJECTIVE: We have been exploring the idea of opposition or contrast both conceptually and concretely (which themselves are in opposition). You have been working with figure/ground, abstract/concrete, stable/ambiguous and intellectual/visual relations. In the a few projects you were asked to move “out of the box” so to speak and be as creative as possible in terms of solving problems that were in one sense “almost” impossible to solve. Now you are to apply what you have learned into a more concrete set of problems involving typographic forms. Based on the lecture and examples shown in class you are to solve the following typographic problems:
PROBLEMS:
1: Place a single letter “H” (upper or lower case–– your choice) inside a rectangular format. Use a simple san serif face like Helvetica. Place the letter and its values so that the “H” becomes ground instead of figure. You can use solid black and solid white only (no grays nor linear hatching). Practice first with thumbnails before working in the computer.
2. Do the same with two colors.
3: Repeat the Helvetica (or other simple san serif face) letter “A” in a symmetrical pattern. Determine the following: What do you see as figure? Why? Can you change the figure into ground? You can use solid black and solid white only (no grays nor linear hatching). Practice first with thumbnails before working in the computer.
4 -7. Do the following in 4 by 4 unit squares. Using pure letterforms or letterforms as shapes simply show the following: (5) “vulnerable” • (6) “discomfort” • (7) “uncommunicative” • (8)“less lonely than one.”
FORMAT:
• Working in whatever program suits you to solve the problems (Illustrator or Freehand are best)
• Present all finished works in one PDF documents (three rows of two each in the order of the assignment i.e., "h", a's" vulnerable...etc).
Assignment 7 (ALTERNATE): IMAGE AS INDEX: Building an image concept
OBJECTIVE:
• As discussed in class you will be given a single “secret” word, which you are not to discuss with anybody whatsoever, so that you can create a graphic image as an “index” to represent the word.
Remember:
Index= references the thing, indicates, points to it, but does not show the thing itself (most abstract)
Icon = shows the thing itself
Symbol= any accepted image other then the thing which we agree represents the thing or the concept around a thing, as in the typical symbol of a heart.
CHALLENGE & GOALS:
• To represent the word without using an image or typically associated images to the word (in other words, do not show a graphic of a dog to indicate dog nor a paw print but perhaps a....)
• To create a graphic image that indicates or points to your given word
• To create a strong graphic image using only black and white
CONSIDER:
• What was discussed in the lecture
• The critiques of problem A2 and what was discussed
FORMAT:
• Working in whatever program suits you to make one image saved as a JPEG
• Make sure you place your graphic image in a picture plane (boundary)
• Label the file correctly, i.e., “A3 raphaeld sec1.pdf” (assignment first name last initial- sec#).
• Optimize your file so it can “zoomed” but is not a big file (typically a 300 dpi JPEG like this should be under 1 meg)
-
•Make the document size fit within 724 x 480 or 480 x780 (the actual image can be a different dimension within that document size)
Assignment 8 (ALTERNATE): Step Into Time: Flip-book and Thirty Second Animation
Your midterm has two parts the first of which is to create a physical flip-book and a story board. The second is to then animate these digitally using any combination of softwares you prefer (I would suggest, Illustrator, Photoshop and After Effects).
OBJECTIVE:
Considering everything you have learned and done so in class with elements of design, figure-ground, and transformation now take this to the next level by working graphically with "time". You will accomplish this by making a flip-book. This flip-book should be done in a highly "designed" and graphic manner, not as a narrative or story in anyway, keep it visual abstract strong contrast and really explore figure ground relationships in "time."
Please consider everything we discussed on this project in class and determine what you will do to graphically through time explore ideas of transformation, figure ground, gestalt etc…
PROBLEMS:
• Do not tell a story. Instead be abstract this work does not need to have a "point".
• Intellectual concept is not as important as visual concept, again work more abstractly
• Activate all six spatial points, up down, left right, in out.
CONSIDER: Most film or animation traditionally is 24 frames per second (fps) video is 30 fps, In terms of hoe the eye sees motion a minimum of 15 fps is necessary in order for "persistence of vision to occur." This means at the rate of 15 fps the eye still perceives smooth motion. S, do not go below 15 fps in your flip-book animation.
• At a minimum your animation at 15 fps should be 10 seconds which equals 150 images (you can go longer if you like).
• Think of how long a second really is and what can happen in that space of time.
• The presentation of your storyboard
• The construction of your flip-book (binding paper etc..)
FORMAT:
• Your first step is to create a seven panel (minimum) storyboard showing what you wish to do this is
DUE: Uploaded to the first class folder by this Monday at 8 a.m. Please create an optimized PDF file as I will download these on the road with a rather slow connection. I will approve your project via the storyboard.
Assignment 8 PART 2 (MIDTERM): A Thirty-Second Movement into Animation
OBJECTIVE: This project is built directly upon the last. You are to take the digitized animations from your flip-books and turn them into complete digital animations. Take into consideration what we have discussed about animation and “story or narrative” in order to determine how you solve the problem at hand (and never forget that you are exploring explore ideas of transformation, figure ground, gestalt etc graphically through time…).
PROBLEMS:
• Unlike the flip-book, try to tell a story—in the abstract sense as discussed in class.
• Bring in the intellectual merging intellectual and visual into one on the project.
• Build upon the animation you did for the flip-book (DO NOT discard it and begin anew) you must make it work in a new expanded context.
• Thirty-seconds is the bare minimum time for this piece but you may go longer.
CONSIDER:
• Work at 24 frames per second (FPS) or 30 if you prefer.
• Try to determine what things you can do differently in digital format as opposed to the flipbook (refer to in class lecture notes—remember sound is not one of these things).
• You may add color as long as it enhances design and advances the narrative
FORMAT:
• Your final project MUST BE DELIVERED in QuickTime format NO MATTER what platform you natively are working on. So take the time to bring your PC files to a MAC and convert them or find a way to do so on a PC (there are ways).
Assignment 9: 5 X 5 Sequential Transformations
OVERIEW: A visual creative person is often called upon to solve challenging problems. These problems can be generated from seemingly mundane instances or references. The solution to these (and many other) visual design problems often requires the discovery of unique and “fresh” visual solutions to what may seem like tired subjects.
This assignment will be very difficult on one level and easy on another. It will require that you see not only the differences in two distinct things, which is easy, but more importantly it demands that you try to visualize how one graphic image can transform into another. It requires that you think visually in a series of steps, that you begin to perceive a sequence of change.
PROBLEM: In sequences of five images show the graphic transition from one image to another. In order for this to work you go from one distinct graphic image to another, for example a graphic transition form the number "1" to the letter "X", or from the international symbol for outlet to the symbol for handicap. You need to do this for five different sets totaling 25 transitions. All sets should be done in identical sized squares or rectangles for the entire project. Further, you must consider the complete graphic image itself, its placement and the figure ground relationship that the elements have. Try to create as interesting and dynamic figure-ground relationships as possible. You also need to decide upon what types of action(s) you will perform on one or both objects in order for the transformation form one to another can occur. Actions that can transform one thing into another can be of more than one kind such as: (the following are only three possible ways)
Growth—a thing grows extensions and shrinks others (perhaps the most direct and least interesting)
Merge—when two separate objects coincide then begin to join (done right can create very dynamic figure-ground relationships)
Division—this is somewhat like mitosis except that the parts form a new whole and other actions like rotation may be involved
However you do this you must think about what you are doing and be able to describe the what action(s) you are applying to your images. Also consider that combinations of actions can also take place.
CONSIDER:
• At your disposal are all of the principles of design such as, figure-ground, cropping, placement, intersecting, coincidence, rotation, scale, framal- reference, fragmentation, etc.
• DO NOT –download any images from the internet or use unoriginal photographs.
• YOU MUST –manipulate any photographs you shoot , through raster, vector, collage and any other digital means.
• Format, JPEG 72 dpi min 800 x 600 or working size 5 rows of 5 sequence transition sets.
Assignment 13 FINAL (ALTERNATE): DESIGNER RESEARCH / Rich Media Presentation
OBJECTIVE: Identify 5 artists/designers (a/d) from 1890 to present that you personally find interesting. These A/D’s should primarily work in graphic imagery or type (therefore not industrial or architectural per se). You should be very interested in them as you final project will involve a deep level of research and development of a combined media presentation on them.
RESEARCH:
• Simply identify five artist/designers that you would be interested in. I will choose one from your selection and assign that one to you for your final project.
• The individual (or collective) you identify may be known as an artist or other creative (such as an architect) but have worked as a designer of visual graphics, type or other such related imagery.
• Include their birth date (date of death if they have passed away) and a three citing reference such as websites, books or magazines.
EXECUTION: After you have done the research on the five email your findings to the appropriate folder on FirstClass. Then select one that you find the most interesting then you are to make a rich media animated motion graphic movie based on artist or designer (refer to lecture in class). The entire project should visually reflect the A/D you have chosen, typefaces, graphic imagery, color everything should reflect the style of the individual chosen.
FORMAT:
DV NTSC 29.97 fps 728 x 480 Quicktime movie.
COURSE DESCRIPTION: The course builds on the skills and concepts of NMD 104 as well as other 100 level NMD courses. It teaches students concepts, theories, processes and techniques needed to create Time-Based Art and Design. The course is a bridge between principles of 2D design to animation and motion graphics. This course examines and applies principles of sense perception to the practice of Time Arts as well as conceptual and expressive development in a Time-Based medium. Students investigate unique problems presented by Time-Based and converged media and apply the aesthetic principles of art and design in the creation of artistic, expressive and/or conceptual structures in a time-based media. Studio Cr. 3
Prerequisites: Permission of the Instructor or ART 100 or ART 110, NMD 104 or permission.
COURSE GOALS AND OBJECTIVES: Synectics is derived from the Greek word synectikos, which literally translates as “bringing forth together,” or bringing different things into unified connection.” A core aspect of this course is the convergence of intellectual, graphic, time-based and sense information into communicable and deliverable information structures. As such, students will explore the process of researching, harvesting, filtering and presenting information in harmony with effective and aesthetic principles of design. The aim is to conceive information systems of an artistic-creative or applied-design nature that transmit “idea essence” and “meaningful intent” to others.
NMD 204
Introduction
To Time-Based Art
