VDL Categories: Art & Design
Skill set being developed
Knowledge of the range of mark making possible with today's computer graphics applications
- Insight into the role of technology in today's landscapes
Relevance to VDL
Artists and designers using the computer need to understand the types of marks and gestures it can help them make. Just as a painter must experiment with different ways of applying paint and different types of oils or wax, so artists and designers using the computer must experiment with the range of expressive elements available to them. This assignment helps students gain an intuitive sense of the best type of data representations for (in a given context) depicting certain types of objects, emotions, and forms. Although this assignment can be done at any point, it benefits from previous exposure to both raster and geometric computer graphics concepts, as well as some vocabulary for discussing both formal aesthetic and "meaning" issues in art.
Interactive multimedia software
- 2D raster and geometric graphics applications. (3D is optional.)
Examples of relevant applications of the module content
(some sites for inspiration)
- Michael Najjar
- Lane Hall and Lisa Moline, Bad Science, http://www.uwm.edu/%7Elanehall/
- Interior and exterior landscapes that often combine scanned elements, graphics software, and innovative retro printing practices.
- MANUAL (Suzanne Bloom and Ed Hill)
- Char Davies, the Osmose project: http://www.immersence.com/
- Davies was a co-founder of SoftImage 3D software (now owned by Microsoft) but has a background in the arts and humanities. Her 3D landscapes are unlike the vast majority of 3D work: they are flowing and organic-feeling, rather than geometric and synthetic-felling.
- Final pieces must be computer files (i.e., not paintings or other media)
- Final pieces can be viewed on screen or printed.
- No size or aspect ratio constraints. If files are over 20MB please do not email to me--make me a CD or email for an FTP site.
- You can scan in photos and anything else--found objects, things you painted, things someone else made, etc., but please also use at least two types of computer mark making (e.g., a "paint" and a "draw" program like Photoshop and Illustrator) .
- You don't have to use any specific programs. Note that some nominally raster programs (such as Photoshop or Painter) have geometric elements--such as type, paths, etc. so it's not necessary to use more than one piece of software if it gives you different ways of working.
- If you don't have access to a 3D program but want some 3D elements you can look for images of other people's 3D objects or scenes on the web and use screen grabs. You can also use the GTT. You can export GTT files as .tif or .jpg or just take a screen grab. Even MS Word and PPT now have some (sort of) 3D elements to them.
- There is no written component.
- Unlike the more graphic design-oriented projects we have done to date,
you do not need to begin with any specific "message" you want to convey. Start with a landscape or landscape object that appeals to you--even
if you don't know why. You can go on-site and photograph it with a digital
camera, get pictures from the Web, or draw things and scan them in.
- When you reach stopping points in the work, then take time to sit back
and think about what it might be saying and whether it's working. At these
points you can employ the concepts from semiotics and design that we covered
in class. But don't do this type of analysis while you're working on the
- Critique will be similar to critique you would get in an art class--looking at work and discussing its impact and methods of expression.