Qu'est-ce que c'est?

Are we supposed to post our Desire collage project, or just bring it on a Flash drive on Monday?

My Aversion

It all goes back to evolution. Not to be a science dork, but really. The instinctive tendencies we have to be attracted or repelled by something (sometimes inexplicably) ultimately come from thousands and thousands of years of natural selection. For example: we are drawn to fatty food because it tastes good to us. This is likely because so long ago in our ancestry when calories were much more scare for humans, those that happened to prefer low-calorie foods were less likely to procreate and pass on those genes. Instead, the ones with a greater appreciation towards fatty foods without knowing the difference at all survived, reproduced, and passed on their genes.

For this reason I find death to be an incredibly interesting topic. For whatever reason, we are drawn towards its role in our lives and yet repelled by the mystery and fear it invokes in us. I wanted to play on his very idea for my desire/aversion project. What is particularly interesting about death is the range of negative and inquisitive reactions that people have developed from society. Even though it's one of the two aspects of life that are inevitable, it is taboo to mention in the presence of people one doesn't know.

(Post) Modernism

It took a long time in the past few years for me start understanding Modernism and that Postmodernism actually exists, because without knowing the whole story "beyond now" as the current art movement just sounds ridiculous.
It takes shape after recognizing that Modernism was basically driven by industrial and technological advancement as well as leaving old methods and traditions in the past. That makes "Modernism" an apt word to use to describe the entire movement. "Postmodernism" takes it up a notch as a term in itself as seems impossible and nonsensical. But the "post" in Postmodernism is the same as it is in any "post-X" genre/movement. It's a revised, reborn version of the previous X movement that may poke fun at issues with the original movement but is generally driven as a reaction to the previous movement. It most likely deals with similar issues, perhaps in different ways-or deals with the same issues in modified ways. In that way it makes sense that Postmodernism, as the prevalent all-encompassing movement of the art world today continues using precedents set by Modernism (abstraction, for example) and also criticizes its shortcomings (i.e. multicultural, all-inclusive concepts instead of pure, mono-idealistic goals).

Modern Artist: Jackson Pollock



As the leader and pioneer of American Abstract Expressionism, Pollock sought emotional release in his paintings which shows one brand of "purity" that the Modernists searched for in their work. There is no necessary driving concept other than that very expression in his work. The visual quality and intricacy of his mark-making and the interesting compositions he produced are meant to stand on their own.

Male and Female



Postmodern Artist: Barbara Kruger

Kruger is definitely a Postmodern artist because of her tackling of contemporary issues. She deals with iconography and text to play with our tendencies as a sexist, consumerist, and racist society. She deals with these issues head-on in a street-sign like fashion with incredibly clear images that are humorous in their confrontational presentation.

Untitled (When I hear the world culture, I take out my checkbook)

Russian Animation - Man in the Frame (English Subtitles)

(post)modernism

modernism: is vague and each critic has his/her own idea of a specific definition and time period but it can not be denied that modernism is about the rejection of traditional and conservative views. modernism can range from Manet's mid 1800's painting The Luncheon on the Grass to Piet Mondrian, Composition with Yellow, Blue, and Red,

Modernism was concerned with "progress" and taking art and everyday life where it had never been before. Andy Warhol brought a sense of importance everyday objects like soup focused on what society wanted to see, this lured people from any social sphere into modernism making it more about the people and their needs.
kandinsky and The Bauhaus school founded by Walter Gropius focused on merging art with applied arts such as music and psychology. Kandinsky (and the Bauhaus team) also focused on evoking emotion and a person's "inner necessity" with the use of color and geometric shapes. Kandinsky himself was very influenced by music and wanted to merge color painting with music and the process of making music.
post-modernism: one important aspect is the focus on the process of making art not necessarily the final project. for example action painting such as Jackson Pollock. Pollock’s paintings represent the chaos in America at the time. his techniques and initial concept was so obvious in his final paintings. the size of the paintings to me indicate how invasive and overpowering American society can be.

Post Modernism

This movement essentially exploded on to the art scene after the second World War. This period is essentially the embodiment of avant garde as many works showed experimentation, exploitation, and a new meaning to what is deemed art. The period is most known for Pop Art and its exemplary kitsch item displays and exploitations of our society and culture. An artist that I love to hate from the period is Jeff Koons. His work is preposterous but still interesting. As an artist, you must learn to understand and appreciate this. Shown here is a work of Michael Jackson and Bubbles form his Banality series.

Modernism

Modernism, contrary to popular belief is not "modern art". This movement spans the late nineteenth century to the early twentieth century. During the period, the art world turned to rejecting traditional art institutions such as academies, clergy, and the aristocracy to essentially begin the avant-garde way of the thinking in art. Many artists turned to many new forms of design and art making including new mediums and use of new materials. Not only was art touched b the movement but architecture, design, and consumerism in general were all embraced by modernism. The period saw Bauhaus, industrialism, and new technology. The time period was all around progressive. One of the mos important artists of the time period and of all time was Pablo Picasso. Picasso, and many of the artists of his time, rejected tradition and turned to more abstract forms of work, essentialy stripping art to its purest form. Shown is one of Picasso's works.

Modernism & Post-Modernism

Modernism refers to the period during which many artists developed vastly different ideals about art in comparison to those that came before them. This time was characterized by many concepts, including those such as avant-garde, hierarchy, form, and function. In many ways, the artists of this time sought to abandon the traditional thoughts and practices of art and focus on developing new and (at the time) modern ideas. The painting above by Piet Mondrian is a pretty good example of some of the minimalist work that was made during modernism.



Post-Modernism is the period that came after modernism, thus the name, and is most easily identifiable as the opposite of modernism. Post-Modern artist very much rejected the ideals of the modern artists in a similar manner to the way modern artists rejected the ideas of their predecessors. One specific example of this comes from the clear abandonment of the 'form follows function' and finalized ideals that many modernists adhered to. Rather, many post-modern artists embraced the possibilities of unfinished/perfected work and especially experimented with the importance of art as a process and not necessarily a result.

Postmodernism

In the art, as the book says, modernism is a general term that encompasses a wide range of individual movements. Beginning in Europe in the latter part of the nineteenth century, modernism became the dominant force in art and design from around 1915 to 1975. Postmodernism, according to the book, has four fundamental beliefs, form, embracing new materials, desiring to bring art to the general population rather than working for an elite, and understanding and express universal truths. However, many modernists became trapped by their own success, according to the book, because modernist buildings often seemed cold and monolithic.

Modernism and Postmodernism

• Modernism

• Postmodern Art

• A comparison of Modernism and Postmodernism

Moden and Postmodern artists

Andre Derain was a fauvist artist in the early 1900's. As a painter of the modern art movement, he rejected the traditional methods of creating art by using bright bold colors and abstracting his work. In this painting, London Bridge, the water is painted with multiple colors and choppy brushstrokes while the sky is depicted with an unnatural bright orange color.

Like Modern art, Postmodern art has many subcategories. This piece by Sherrie Levine titled, Fountain, is part of the appropriation movement. Unlike modern art which rejects the art of the previous generations, this art looks back to the history of art and reuses old concepts with a hint of irony and humor. It is not necessarily about the process of art but about the content and it's relation to history and culture.

Modernism x Post-modernism

Modernism, which came about during the late 17th century, was a dramatic change in the art community, as well as the world. Though there are still artists who focus on the modernist ideals, it has since been widely replaced by post-modern and contemporary work. It not only applied to art in its concept; science became more relevant as well as an improvement in technology. Religion was cast aside and art became more focused on life and imagination. All of the old "rules" of art were broken and there were many new innovations within sect of art. An artist who was influenced greatly by modernism was Eugene Delacroix. As an impressionist painter he valued color over form and liked to depict common life or common objects as the subject for his work.

Post-modernism emerged in the early 1900's although it began to pick up speed during the 1950's. It was derived directly from modernism and was seen as almost an exact opposition to all modernist ideas. The movement went back to the traditional heritage of art, which had been thrown aside for for nearly three centuries. Although many art critics and historians say that its official end was in the 1980's, it can still be seen present day, done by artists who have been working with these ideals since it was relevant in their earlier careers. It has now been replaced by contemporary art and a newer term (which is still being decided on) will now mark the new chapter of art movements. David Hockney is an artist who coupled the traditional aesthetics of painting with newer pop ideals.

Modern/PostModern

Modernism is a period in art dating from around the 1860s through the 1970s. the term modern was used tro describe the ideology and style of the time which was a radical new approach to the present as well as the past. During this period, artist became more involved in the content of their art more so than the process in creating it. Also more experimental art began to be made. This time period is when many of the "avant garde" artist came about, these were the artist that thought way ahead of their time and which were always seen as fore runners of the period. One of the most famous modern artist was Aandy Warhol. Post modernism became art that set into this new industrial age that was beginning in the late 70s. Post modern artist in a way started to become anti-modernist artist and mainly stayed away from the minialism approach that was so popular in modernism and even revived some subjects and genres scorned by modernist.

Modernism vs. Postmodernism

Historically, modern refers to the period roughly fromthe 1860s through the 1970s (but is not restrained to this, as many artists work within the realm of modernism). It is characterized by new attitudes toward the past and present, often rejecting the past and tradition, and moving towards the future with the concept of the "avant-garde". There was also a breakdown of traditional financial support for the arts; no longer was it made for the church and the wealthy. The art movement known as modernism encompasses innumerable amounts of other movements, due to the embracing of the new - new subjects, new content. Its hard to even count all of them, let alone remember. In my head, when I think modern art, I think of the formalist, abstract art that was, in a sense, one of the most radical moves away from tradition. This kind of art, like the painting by Theo van Doesburg below, was a purification of form and medium. (Maybe not the best example, but you get the point.)



Postmodernism is just as vague, if not moreso, than Modernism. It could almost even merely just mean anything after Modernism. Postmodernism builds upon what was started in Mordernism. It revives it, turns it on its head, builds upon it, takes its subjects. Some reject modernism, and some take it and run with it. Postmodernism kinda destroys the question of "what is art?" and says that it could be anything, include anything. I'm probably not doing a good job at explaining what I think is Postmodern. I guess it's kinda like the "well... now what?" after modernism happened - so artists are pressured to pack more into their art, in terms of meaning and in terms of content. Theres a pressure to be revolutionary and avant-garde, except maybe not trying to be avant-garde is doing just that. It's confusing, I know. I can barely even talk about it. Here's an image from one of my favorite artists, Sophie Calle. Her art is about the process in which she goes about making it. These photos were taken in people's hotel rooms where Calle worked as an undercover maid. She would empty the contents of their suitcases all over the room and then take pictures of it. In doing so, she questions the line between public and private realms and the license of an artist in crossing this line.

Modern and Postmodern

Modern: Universal, form-focused, transcendent, purity, idealistic, original, shock of the new, finalized art object, minimalism, abstraction, aesthetic quality, subject matter is incidental

Donald Judd, Untitled, 1990














Postmodern: Ambiguous, appropriation, kitsch, debased, mix of new and old, collage, shock of recognition, denial of originality or invention, multi-media, graphic/cinematic, emphasis on subject matter and specificity

David Salle, Mingus in Mexico, 1990

Modernism v. Postmodernism

Modernism is term that encompasses a variety of different movements that share four fundamental beliefs. Most modernists primary focus in regards to creating art was experimenting with form, embracing new materials and methods of production, desiring to bring art to the general population, and understanding and examining universal truths.

Paul Cezanne is known by many as the father of modernism. His works were mostly concerned with concern with formal qualities (space, color, composition, etc.), with the overall objective of making the painting "work."



For postmodernists, the primary focus is on context and content as well as form. They also take on the idea that there are multiple truths that are constantly changing. Postmodernism tends to be complex, full of energy and new ideas. Postmodernists often use a variety of techniques to convey their ideas. Appropriation, Re-contextualization, layering, hybridity, and word/image integration all play important roles in the creation and effectiveness of postmodernism.

Kara Walker is a postmodernist whose works primarily deal with identity and gender issues involving African-American females. Walker uses images from historical textbooks to show how white people depicted African American slaves during Antebellum South.

Modernism and Postmodernism

Modernist artists chose to abandon the traditional methods and conceptions of "what art was". Rather than focus on the actuality and representation from life and the real world; artists began centering their work on expression and experimentation. Focusing less on realism and more on the freedom of artistic expression Modernism challenged prior definitions and standards of "Art". One modern artist is Chihuly. He uses installation to represent the emotional and physical aspects of life and history. His work includes permanent installations in places like hotels and museums and also temporary exhibitions in areas around the world, including Fairchild Garden in Miami Florida, Chihuly over Venice and the Atlanta Botanical Garden. He is awesome check him out!

Post-modernism is a movement that followed modernism and contradicted some of the modernist beliefs. In post-modernism their is no such thing as "high" or "low" art. The purpose and the meaning depend on the viewer and the maker. Quality is artificial. Often mainstream images or objects are used in artists work to convey a message or represent something else. A post-modern artist is Shepard Fairey. Fairey uses a combination of pop art and graffiti. Some of his work can be seen on the side of a building of stuck to a light poll in a New York City street.

Hour Glass-a rough sketch

Well basically I still think it needs some work, so I'm going to do another one and see how that comes out!

Chapter 8 Summary!

Shared Language - is the basis of which all communication is built. As the foundation of communication, it is an integral skill that is used in art, both directly and indirectly.

Iconography - is the study of symbolic visual systems. It plays a large role in all forms of visual communication.

Audience - is the intended viewing group of a work of art.

Immediacy - is the speed in which a piece of art can communicate ideas to its viewer.

Stereotype - is a fixed generalization based on a preconception.

Cliche - is an overused expression or predictable treatment of an idea.

Surprise - is when there is a shift in stereotypes or cliches. This challenges the expectations of its viewer.

Context:

Compositional Context - is how the images interact with each other in a work.

Social Context - is how the piece of art relates to people due to the positioning of the images within the work.

Analogy - is something that creates a general connection between unrelated ideas and objects.

Simile - is something that creates a connection using the words as or like.

Metaphor - is an exaggerated expression that draws a connection between two things.

Metaphorical Thinking - is a technique used to create a link between an image and an idea. Example: "He was as sick as a dog."

Drama - is another communication tool that is used to create a more interesting work of art.

Three Important Ways to Achieve This:

Personify the Idea - is creating something relatable in a work so that the audience can communicate and relate.

Focus on Essentials - is when you use direct ideas to get your message across.

Seek Significance - is using something familiar in a more important and interesting way.

Personal Assesment:
I thought that this chapter was really straight-forward and mostly common sense. However, I did think that her use of examples were very clear, especially with the drunk driving ad. I think that this chapter was beneficial for people who have not previously worked a lot with art, but again, most of the terms and ideas in here are very common-place.

-Jason Kolesa

Constructing Meaning

In this chapter, the book talks about constructing meaning. The bottom line is that how we, as artists, communicate with people with the art, the concept of art we learn from as long as we can remember. The book divides the concept in to building bridges, purpose and intent, context, connections, aesthetics, and drama. Under the building bridges, there is iconography, immediacy, stereotypes, clichés, and surprise. And there are many more. After all, as the saying goes, one picture worth one thousand words. Without image or arts, we will have a very difficult time to communicate with others.

Chapter 8-Constructing Meaning

This chapter is basically an essential read for all designers. The focus of the section discusses the ways to communicate designs as well as ways to go about presenting and conveying ideas. Mary Stewart goes through a thorough breakdown of essential tools that can be used in the design world. Everything from understanding iconography and the many other ways that ideas can be conveyed, understanding aesthetics and anesthetics, to the section discussing Post-Modernism and Modernism were all pertinent information to me. The best thing I got out of the section was the discussion on metaphor where Stewart suggested studying connotations of common phrases such as "I have have butterflies in my stomach". I also enjoyed reading the part where the 5 common Post-Modernist approaches were discussed. Many of them I did know but the get an in-depth reading on it helped me to rethink my own understanding and possible reference in the future. Overall, this was a great chapter, especially because I am a graphic designer.

Constructing Meaning

Conveying meaning in art and/or design is one of the most difficult problems I struggle with. This chapter was helpful in showing how this meaning can be cultivated. Since it is so easy for artisits to use a cliche (because they are readily available) I felt that giving a twist to the old cliche was a smart and easier method for creating a design that was out of the ordinary. Also thinking of similies, turning them into metaphors and in turn translating it from words to an image is also a highly effective and easier way to create a meaningful design that is not dull or overdone. Lastly I really liked the photograph of hungry minorities waiting in line for food while a giant billboard behind them completely contrasts their situation. Justaposition of contrasting meaings and irony are definitely strong ways to get yor message across to the viewer.

constructing meaning

I think that this chapter has been the most helpful out of all the ones we have read so far. One of the hardest things for me to successfully convey is the idea behind a work of art. Not only do I have a hard time with conceptual ideas, but communicating them to the audience is difficult. It's useful to see the many different ways to explore this, especially the section on targeting certain audiences. I think it is one of the more important things about this chapter, especially with graphic design. If you don't appeal to your audience, you'll never get anywhere. Exploring the use of metaphors and similies in artwork also interests me, and hopefully I will be able to pull some of these concepts into my own work.

Constructing Meaning

Often in the art world I feel that the communication between the artist and the audience is lost even at the professional level. I think that many artists create selfishly for themselves preventing their work from getting across original ideas and emotions. This "shared language" is often non-existant in art and the once created "puzzle" that may have been filled with ideas to unravel is missing many pieces. I think the lack of shared language, communication and attention to the audience in one piece brings down the credibilty of the entire art community. That is why I found this chapter extremely relevent and important especially when we are just beginning a new project. It is critical to pay attention to the purpose and intent of your piece before you just dive in to the actual creation. I also found the comparisons between modernism and post-modernism helpful because it simply broke down what artist are doing today. It described the movement collision as "an enormous aount of energy" released which I felt was a good way to describe it. However finding similarities within postmodern art allows us to see what is working and what is not. Personally I feel that characteristics such as appropriation and re-contextulalization are becoming overdone and cliche and it is time for art to go in a different direction.

constructing Meaning

This chapter talked about one of the most important things an artists does... that is express meaning and emotion through art. I like the idea of suggesting and evoking instead of telling and illustrating a theme or concept. Sometimes it is a challenge for me to hide the meaning of my work.
I guess since i want my audience to appreciate the piece so bad i give it all away too easily sometimes. I enjoyed reading the descriptions of similes and metaphors. This chapter had very interesting concepts that should not be ignore.

Constructing Meaning

I think that this chapter is extremely effective, relevant, and helpful. Like the book says (well, we should already know this by now), we're living and working within the postmodern period. The way I see it, is that almost every "kind" of art has been conquered. Techniques, disciplines, and so on. What the art world looks for now is something that is innovative not only in form, but also in context and content. That's not to say that something modern isn't still worthwhile or that classical painting is dead. People still value these concepts and these disciplines. But I think that in an era where everyone feels a disconnect - whether by technology or whatever - its become almost necessary for art to speak, to move people, to make people feel something, anything at all. And Stewart does a good job at covering most of the bases on how to construct meaning. When you go to make something, there's usually a jumble in your brain about how to organize and really settle on a meaning in order to make that meaning apparent, and she very clearly divides it into this array of what to consider, step by step. Considering audience, iconography, metaphor, context, aesthetics, drama, et cetera can get really overwhelming really fast. So it's nice to have somewhat of a guide to keep you on the path that will take you to your most effective works of art.

Constructing Meaning

As usual, Stewart does a very good job of communicating the ideas she intends to in a clear, comprehensively thorough manner using a broad range of examples. I really can't complain about the structure, use of language, or categories used in this chapter. She's kind of starting to impress me by continuing to present material well, though it's getting a little more advanced (I suppose). On a side note, the paragraph about racial stereotypes was pretty funny since it had to be addressed, though it did seem a little thrown-in there.

Constructing Meaning

I guess it is a good thing that I am interested in psychology because this chapter seem determined to focus on some pretty familiar psych 101 explanations of how and why people interpret information the way they do. Which is not bad I suppose. Although, I was ironically surprised about the fact that Mary actually included a section entitled 'Surprise'. It just seemed amusing when i came to it, especially after reading about stereotypes and cliches, because her explanation of what surprise was included the word surprise... Maybe I just get focus on the wrong things when i read books for school... Anyway, as always, the pictures helped. I like pictures in books =)

Constructing Meaning

This was a pretty good chapter. I thought the part about stereotypes and cliches was especially interesting. They're so common today, it made me wonder if there is any way to put them behind us completely. Racial stereotypes are one of the most irritating things in today's world. The author seems to ramble a lot in this chapter though... I mean, is it really necessary for her to explain to the audience what a booster seat is? She did a good job explaining metaphors and similes, though... except the example she used was questionable. "She has a heart as big as Texas" is a good example for a simile, but when she tried to turn it into a metaphor by saying "Her heart is Texas", it just sounded odd. Well, now I'm beginning to ramble, so in conclusion, I think she did a good job of explaining the different methods an artist can use to express meaning in an artwork.

Constructing Meanings

The most important concept in this chapter is that art and graphic design seek to communicate ideas and express emotions, thereby stimulating the viewing audience. Stewart's critique that Picasso's Guernica shows the "meaning and emotion" of the event rather than the "appearance" of the event speaks directly to our first project. We are trying to "evoke" our tropisms rather than "illustrate" them.

Constructing Meaning

This chapter showed us something that, myself as an artist, has learned to with great insight from last semseter, create art with an underlined meaning beneath it. To me, art that is not only aestheicaly pleasing but also has meaning puts forward a piece with more depth. Yet the chapter reminds us that you will not always be there to explain your piece, so there are ways to make sure your message is not misinterrupted. One of the most imporant is realizing whom your audience is. Once you do that it is easy to convey your message in an understanble way because you can target that audience specifically. When using drama in your piece the chapter mentioned some of the concepts like focusing on essentials and finding significance can be useful. I believe in thinking both conceptually as well as in an aesthic manner, we as artist can create some very well rounded artworks that could potentially touch lives.

artist presentation

I will do my presentation on William Kentridge.

Constructing Meaning

Often reading the chapters in this book I find that the information is stuff I already know. But at the sametime although as artists we take a great deal of these details into account while working often some of the more miniscule and most influential details are overlooked. That is why critique and observation of our work while it is in the process of being created is so important. Others will see the meanings and messages we miss; their experiences and beliefs are different from our own and therefore give them a varring perspective on what is in front of them. Although the methods and information in the text may seem repetitive at times it is so important that we learn to do these things naturally and pay attention to the minor yet crutial details that others would miss. This ability not only defines are creativity but makes us into better designers, and like everything else in life practice makes perfect!

Constructing meaning

I think that this chapter was a good reminder of one of the primary reasons behind art. Art can be made for the sole purpose of being aesthetically pleasing, but when an artwork has a meaning or underlying message, it can prove to be a very strong communication tool. I like how it talked about figuring out who your audience is so that you can target them more specifically and hopefully clearly convey your message. It cautioned the use of stereotypes and cliches, because over time these tools lose their effectiveness, but suggested that a shift that upsets our expectations regarding such mechanisms can make the message more memorable. I also found the section on DRAMA to be helpful. It suggested personifying the idea, focusing on essentials,and seeking significance as ways to increase the strength of your work. Overall i think the chapter was insightful and did a good job of reminding us of important techniques to include in our work.

Homework for Monday 1/28

Please read and post to blog Launching the Imagination, Chapter 8: Constructing Meaning (p.158-p.177)

Bill Wegman is mine, thanks.

hi everyone, i would do my artist presentation on Bill Wegman . thanks.

lol

Hale said SCULPTORIST! i love it. =)

artist choice

I'm gonna present on Joan Jonas! :)

Things to do for class on Wed 1/23

What we will do in class on Wednesday:
* Critique your bug compositions
* Go over the readings (see below for details) you will do online
* I will show you some techniques for image editing (Curves, Blending options)
* Work on your projects

Before class, I want you guys to:
* Read/look at: Tips for working with layers in Photoshop when creating collages (this is not exactly the same with our process, but you can make use of some of the techniques mentioned here)
* Read/look at: A comprehensive look at scanning and graphics
* Bring in your ideas, sketches, concept maps etc. and most importantly your materials to be scanned and start working (if you haven't already), because you are going spend most of the class time working on your projects individually
* Another useful tutorial on Curve Tool

See you on Wednesday!

artist presentation

Hi all. I will be doing my presentation on Jenny Holzer.

Digital Artist Presentation

Please refer to the Critical Essay/Presentation Handout when you are picking your artist for your paper and presentation. There is a chart of artists/writers/theorists at the bottom of the handout that you can pick one from. Please let me know first who you pick and then post it.

Also, the calender at the bottom of this page now works, it tells you a bout the visiting artists and important dates please check out the events! They will be fun and helpful.

GET EXCITED!

Lincoln

Masking Demo

Masking Tutorial: 5 different masking techniques in Photoshop

Desire/Aversion

This should help. Thesaurus.com is also a VERY useful resource!

Problem Seeking and Problem Solving

Problem solving is one thing that all of us have to face every day. And there are even companies out there to make money out of you by solving your problems. The book does not just talk about problem solving, but also problem seeking. There is “The Design Process,” and there are four basic steps to do it when you beginning a project. Then there are The Fine Art Process, Sources of Ideas, and Characteristics of a Good Problem. Then the book talks about Convergent and Divergent Thinking. And as the book says, “ convergent thinking involves the pursuit of a predetermined goal, usually in a linear progression and using a highly focused problem-solving technique. Then there is Using Divergent Thinking. The next class is “Brainstorming.” Brainstorming plays an important role in both convergent and divergent thinking, according to the book. It involves “make a list, Use a Thesaurus, Explore Connections, Collaborative Creativity.” Then the book says that you would need to have “Visual Research” and Variations on a Theme.” And last but not least, is to have “an open mind.”

Concept map

Heres a concept map if you need an example. You can make one very easily in photoshop by using transparencies for the lines that connect the words.

BUG

BUGS

bugs bugs bugs

Problem Seeking and Solving

Ah, the wondrous profitability of self-help. Maybe it's just the Concepts and Critical Thinking section of the text that really does it, but Stewart manages to say a lot and yet not really say that much. She says many, many things that are important and useful, though generally well-known and universal. The ultimate question is: what does she offer that is new and fresh? Many of us, as art students or as students as general even, are familiar with the majority of these concepts. We have been utilizing many of them for years, or else we probably wouldn't be here. The one big thing that Stewart continues to offer in this chapter as well as the previous chapter we read is the organization and clarity with which she describes the concepts and the aptness of the examples she provides. The story of the Eames chair, for example, was interesting to read as it followed a story worth reading and made reading about "problem seeking" a little less drab. So her examples and presentation are still top-notch, but it seems like we're still on the introduction to a very good text even though we're smack in the middle of a pretty good text.

Problem Seeking and Problem Solving

Design Process (4 important questions when starting a project):
1) What is needed?
2) What existing designs are similar to the design we need?
3) What is the difference between the existing designs and the new design?
4) How can we transform, combine, or expand these existing designs?

Key Sources of ideas:
1) Transforming common objects
2) Study nature (creating objects that reflect nature)
3) Museums (look at existing work for inspiration)

Convergent thinking: (following a linear path to a predetermined goal)
1) Define the problem
2) Do research
3) Determine your objective
4) Devise a strategy
5) Execute the strategy
6) Evaluate the results

Divergent thinking: The mean determines the end. Process is more open-ended and the
end result is subject to changes.

Brainstorming: a common way to come up with ideas; this process is a good way to come up with ideas for both divergent and convergent thinking. A good way to flesh out these ideas is with word association—creating a concept map can be a useful way to do this.

Maquette: is a well developed 3D sketch. This is used for mapping out scenes and working with proper proportions.

Model: a rough technical experiment.

Prototype: a refined version of the model, usually functional.

Personal Views:

In this chapter we learned a lot about divergent and convergent thinking. My personal thought on this is that there is no such person who is solely one or the other. Although we may lean towards a specific method, I do not believe that there is an absolute way to judge the creative method. Instead of looking at it as a two-sided coin, I prefer to look at it as a number line, where everyone falls between the two extremes. I would consider myself very much in the middle on this issue. I have my set ideas, but I am willing to change them if the project would benefit from them. I think though that a lot of projects done in a work setting (such as those who are graphic designers) are forced to think using convergent principles due to the fact that their employer or their client has a set goal in mind (although artistic liberty is often allowed).

Mosquito Brush

Principles of 2D Design

I think this chapter is the most important out of the three we have read so far. It covers core, essential aspects of composition that have been developed for centuries and presents them in a clear, concise manner fit for any beginning to learn or any advanced student to review. One of the best aspects of this chapter, I find, is the range of examples. Stewart chose a very broad spectrum of examples to illustrate the visual concepts being tackled. She didn't limit the chapter in time period, medium, context, or anything really for that matter, from the Sistine Chapel to her thorough appreciation for Mulan's visual aspects. Unlike the other two chapters, I will likely find myself referring back to this chapter for clear guidance on some of these concepts whereas I know I am probably not going to go back and get help on cultivating creativity, not that I have infinite imaginative capabilities, but rather that the chapter on creativity in specific didn't feel like it is worth reading multiple times.

Chapter 6-Problem Seeking and Solving

I found this chapter quite interesting as I realized essential tools necessary for success in the design world. The key to success is knowing the design process and going about it efficiently. In many instances, I find myself at a lost for inspiration. In many instances, I turn to class mates or other people's work for aid. I've found that this only discourages me because I question my ability to create like those around me. I've realized that I have to be more intuitive when viewing work. Draw from it but feel as if there way is the only way at solving a problem. I now consider myself a hopeful convergent thinker but in many cases a divergent thinker. Convergent thinking is essential for graphic design as it is more rigorous and understandable. One most know the direction in design before attempting to do anything. The most important ting I took from this chapter is the notions on ideation and brainstorming. These tactics will help any one in a creative-block, a state in which I find myself in many occasions. The information on essentially how to keep a sketchbook also helped because over the years I've found it harder and harder to just pick up a sketchbook and work. But I feel alot better now. This chapter has been the most helpful hands down.

Everton's Arachnophobia

Problem Seeking and Problem Solving

Reading this chapter I am reminded of my last semester in WARP and constantly working on a time crunch. With deadlines and requirements it is often hard to use divergent thinking methods. For some pressure is often the means for inspiration, for others they find themselves concerned with meeting their deadline and producing. For this reason; I feel that most artists and designers working under time limits often lean toward convergent thinking. But maybe, the real goal is to try and find a balance between both work methods. In order to stay competitive in both school and in the work force it is important that artists are both original and timely. Finding a balance between convergent and divergent thinking and planning ensure that we create edgy and unique work efficiently. In most of my classes I have found that this is often easier said then done. My struggle is to stop over thinking and worrying about the final product and let my inspiration and creative process flow more loosely.

Problem Seeking and Problem Solving

Although many of the steps this chapter talked about in terms of developing an idea and executing a project are very much instinctive at this point, it was a fairly helpful reminder. The section about finding sources for ideas, for example, stood out because finding inspiration is often the most difficult part of the artistic process for me. I also identified with the section about divergent and convergent thinking. I know that when i work i like to get a solid idea but I also like the idea of leaving some details open for change and let them be inspired by how the project as a whole changes as it develops.

Cultivating Creativity

I decided to write on this chapter since I have already (accidentally) blogged about the problem seeking chapter. The cultivating creativity chapter was mostly on goal setting, which was a bit helpful but redundant information. I wish the author had instead expanded on creative traits that people have. Some exercises or methods in cultivating these creative aspects would also have been nice. I suppose the goal setting portion was meant to help "cultivate" creativity, but I think it was meant more for those creative types who are too playful and risk-taking to help reach their final product.

Problem seeking and problem solving

Once again this was kinda a refresher course in what we already know, but i think that it reinforced some key conceptual ideas. Distinguishing between convergent and divergent thinking and addressing situations when it is best to use one over the other was a good thing to highlight. Also, placing emphasis on usually overlooked brainstorming techniques and visual sketching was important because all to often we cut these simple yet effective techniques out of our art making process as a shortcut. Overall i felt that the chapter was a good review of the proper way to solve a problem.

Problem seeking and problem solving

This Chapter was very interesting. Even though i was familiar with the concepts i enjoyed reading it. The comparison between divergent and convergent thinking made me realize how important it is to have a balance between the two when doing a project. I am not used to do research with my art however i think it is necessary in order to create a successful work. I gotta work on that.

Bug Image

Justo Molina's Bicho

Rev Billy of the Church of Stop Shopping

Problem Seeking and Problem Solving

This chapter was more clear than the previous assignment. No vague examples... just good explanations of how to go about solving problems presented in projects. I thought the section comparing divergent and convergent thinking was especially interesting. I think I'm probably a divergent thinker. Although, that could be a bad thing... Anyway, the different sources of inspiration were pretty helpful, specifically the one about transforming a common object into something extraordinary. That's where I feel I get most of my inspiration. Oh yeah, and that glass porcupine was pretty ballin'.

Lecture Wed. Jan 16th

Video showing phototropism.

Reverend Billy :: The Church of Stop Shopping

Natalie Bookchin

Rirkrit Tiravanija : A short history of Rirkrit Tiravanija by Jerry Saltz

Group Material: Background on Group Material , Group Material talks to Dan Cameron

Critical Art Ensemble

Center for Land Use

Linda Weintraub, links to artists : http://avant-guardians.com/links.html

Ryan McGinness : his words, Artist's Website

Problem Seeking and Problem Solving

I feel like I say this with almost everything I read in this book, but I already actively problem seek and solve the way the book describes it. I feel like this chapter wasn't as helpful as the first two were, because they sort of laid out problem solving in simpler terms than it is, as in "easier said than done". Really, it takes practice until you develop your own methods to solve a problem most effectively. Convergent and divergent thinking aren't as opposite as they seem to be. I tend to use a combination of both, as we've already discussed before, a balance of strict goal-setting and liberal risk-taking. I also barely ever move on from a problem. I'm currently dealing with the same themes in my art as I was more than a year ago. You don't move on quickly in art - you have to spend time with it and be patient enough to understand it. I think knowing what a "good problem" is, is probably something you can't teach very easily. Because different problems are important to different people, so ultimately you'll hardly be able to find a problem that everybody agrees is significant, achievable, authentic, et cetera. It's definitely possible, but often difficult. Research and brainstorming are also agreeably a must because of how much information we are bombarded with every day - we need to sit down and organize it and absorb it to our best advantage. This is a short chapter, but the process it entails is probably the most difficult and most time-consuming in creating something effective.

I agree with Sarah in that this book is a "refresher course," that it seems to put into words studio practices that I already follow or am at least familiar with. A divergent investigation and free association of found facts/images/ideas does often lead to more inventive artwork and subject matter. The artist interviewed at the end of the chapter noted that her divergent research works like hypertext, jumping from one idea to another. Rhizomes (concept mapping) works in a similar way, creating a web of interlinked concepts and ideas. Often the ideas you come up with are "far from your original reference point"--literally and figuratively.

Problem Seeking and Problem Solving

This chapter discussed the inital motivation for work in the design process as well as the fine arts process. For designers it usually begins with a problem that needs solving where as independent artist pose questions based on personal and cultural experience. I felt that the sources of ideas such as studying nature or transforming common objects were possibly good places to start but not where you would want to end up. Mainly because I thought they seemed cliche or overdone. The breakdown of convergent thinking was helpful and a good way to implement research in my process book. It motivated me to get started on my next project especially because I enjoy researching things that I am interested in. I also found the questions helpful and I plan to use the same. Often when starting a new project I jump quickly back and forth between ideas never really making a decision until the last minute which is similar to divergent thinking. However it is clear from this chapter that my usual way is not the best when it comes to assignments with deadlines. Even though I find the beginning stages of the divergent process always more exciting then convergent thinking, it most of the time becomes more frustrating in the end. I like the idea of switching back and forth between the two when necessary. Even though I felt like most of the chapter was elaborating on many things I already knew, I always find it important to revisit these critical elements when beginning new work. I find them inspiring, especially the exploration of an open mind and hope that these methods and principles will be ingrained so that one day they will come very naturally.

Paul P: Spider Brush

lynda.com Registration

Hello everyone,

So I figured out the lynda.com registration. There is a discount for students. I submitted our class and all you need to do is to sign up at this address: http://www.lynda.com/edu-media/studentlogin.asp . The class code is 1142008C2556. The cost is $36.33 per person. This is required for every student and will be very useful.

Please make sure you sign up as soon as you can and make the most out of it!

Christina: Dragonfly Brush

BugBits: Cell tissue and monster armies

Stephanie Bug Brush

Brian Bug Brush

Mykl Bug

Jeremiah- Bug brush

Not Bugs, but hey, horses are prettier

Chen's Bugs

Principles of Two Dimensional Design

The book gives us what two-dimensional is about. Two-dimension is not what we see every day in real life, but without two-dimensional images, we can’t not see the world. Thus, having a good composition in a two-dimensional image is vital. As the book says, “ composition can be defined as ‘the combination of multiple parts into a unified whole.’” The book divides the explanation unity and variety, balance, scale and proportion, and emphasis. And within each class, the books divide more detail classes. In general, the chapter gives us a good sense of what two-dimensional design.

Priciple of 2D Design

This chapter gave a pretty thorough breakdown of the many elements that go into creating a cohesive and effective design. Perhaps the most effective cause of this being the many images Stewart chose to accompany the text. For the most part her choice of images matched very well with the particular design aspect she was discussing, but i admit that it was far easier/enjoyable to read those sections that were accompanied with or on the same page as pieces of art that i was attracted to. I found myself skimming over some of the text in an effort to see quickly get to the sections that had examples of art that was more to my liking. The part about the basics of Gestalt Theory was the most interesting. Like someone else mentioned i too found myself testing the theory and noticed that, unless i made a deliberate effort not to, i did indeed view most images as a whole before focusing on the finer details. In short, the chapter did talk about alot of things that i already knew but it also had a hand full of interesting details that were worth while. (the pictures help too)

principles of 2-d design

not being an art student this is my first real graphic design class but i have taken other art classes so I'm familiar with the importance of design in a piece of art. This chapter brought to mind concepts that might seem obvious but are sometimes overlooked-it is very easy to look at an image and decide you don't like the composition without knowing how to fix it. i think this chapter touched on basic ways to improve an image and things to consider when making a design.

Three objects

Chapter 3: Priciple of 2D Design

This information was quite familiar with me, being that I have had a fair share of art courses from middle and high school. The principles of design as I have learned them are Emphasis, Contrast, Rhythm, Tension, Balance, and Proportion. I was glad to see that what I was taught did not go waste as all topics were covered and I was refreshed on the material. I was pleased to also find new information for me to soak up. The focus of the chapter was to express how to create a cohesive and comprehensible composition thought. This was explained by discussing each principle at length, discussing material that is attached to the principle, ad well as examples which could further the understanding of the material. I found the Gestalt Theory to be quite interesting but also very true. With every work presented I found myself scanning the entire work as a whole then going back in to study intricacies; this was most evident in image 3.7 by Larry Moore where a face was covered in corporate logos in a elaborate but simplistic design. Another thing that I took away from the reading was that unity in excess can lead to boredom and variety in excess can lead to chaos. There must be some each to create harmony. I felt as though this information is essential to designers of today, especially aspiring Graphic Designers such as myself. The fac tthat graphic design works were used in some instances rather than the common hostoric art references really helped in my inception of the material. I do hope that it will help me in future endeavors.

Principles of 2D Design

I thought the chapter gave a nice overview of the 2D components of design. I actually ended up reading the spark notes version of "The Turn of the Screw" after seeing the poster for it. So the examples were definitely great and were very relative to their topics. Though most of this was a review for me, containment was one that I was not quite familiar with. After seeing the exaples I realize how much a simple box can create emphasis and focus. I only wish that they would have had more on priorities since often we will be using more than one principle of design in our work.

Principles of 2-D design

I thought that this chapter was very informative and descriptive and gave lots of points to ponder when creating a composition. While it is important to consider these different aspects while you are creating a work, one shouldn't spend too much time trying to include each and every technique, partly because it is almost second nature to include a majority of these techniques. Usually when you create a composition, the composition correlates with the concept, effectively monitoring proportion, focal points, symmetry, contrast, and rhythm. If you are trying to critique your own work before calling it a finished project, these areas are important to examine and question because they will most likely be the topics of discussion when someone else critiques your work. Overall, good chapter with good description, examples and explanations.

Principles of 2D Design

Just as our facial expressions and bodily gestures often say more about our mood and tone then words ever could; the composition of art create movement, life, and depth behind it. Every choice made while creating a painting, drawing, or image define and mold the way in which viewers will perceive the meaning. I think that some point during the process of making art we have all asked others to analyze and critique our work. Each person you ask interprets and relates the work to their own experience and past and often see something that you could sympathize with but might have looked past. In that regard the choices we make when it comes to composition: color, containment, grouping, symmetry are often done unconsciously but still hold importance and meaning. Reading this chapter reminds me to make an effort to take care to notice those unconscious decisions and use them to help me grow as an artist.

Justo Molina

Principles of 2D Design

I thought the Gestalt princples of design were the most interesting aspects of the chapter. I remember reading about them in AP Psychology in high school. One thing that bothered me, though... I'm not sure this book has the best examples. When it was discussing the proximity principle, the example used was the Creation of Adam, and the connection between God's finger and Adam's finger. I guess it works well enough, but from what I remember from high school, it seems like a better example could've been used for that principle. Besides that it was an informative chapter. I feel like I learned a lot about the deliberate organization of elements in a piece of artwork.

Making Bugs into Brushes

Here is a tutorial on how you can make your own brush.

Here are some B&W images of bugs that you can use to create our brush:

By using one or more of these brushes, create a 400x400 pixels (72 dpi) composition with the major 2D Design principles in mind. No use of color is allowed for this assignment, only black, white and shades of grey. Upload your composition for Wednesday's class.

Principles of 2D design- Jeremiah B

Starting this chapter off, i found myself forcing myself to not think conceptually, and to become more receptive to the information being given. The basic principles of design shown in the chapter showed how to make a affective image that would catch your viewers attention. Actually, it seemed as if every principle shown was a different way to attract attention to your image. When first looking at the Gestalt principles, one has to realize that viewers first look at an image as an whole and then begans to break it down into individual pieces. So this relates into how you group things in your image. This cohesion, that includes location, orientation, shape, or color, you set up can tell a story within your image. Also the containment or the unifying force can change the feel of your image. This type of border element can give the image a sinking or rising feel as well as a expanding feel. Using repetition can make unity within the image, but using to much unity just like using a to large variety can make an image look chaotic. A vert vital part of design, proximity, is much more important than you may realize. This distance between visual elements can competely change the feel of the image. The closer elements are the more unity they have, the further they are from each other, they began to read as different events. Yet when you put objects too close that they share common edges, fusion is created. This chapter, along with the images/examples given for each, expressed the principles of two-d design very affectively and served as a prefect introduction into graphic design.

Principles of 2D Design

I agree with Ashley that this chapter is chock full of information. Thankfully, though, many elements that Stewart explores are already things we know intuitively. I think she gives a concise breakdown on all of the essential parts of what makes a composition effective (or not). I have to say that I knew most of these things already, just because I've needed to learn this kind of vocabulary in order to defend my opinions in critiques. Also, it's necessary to understand these elements in order to make work that is visually affecting in the way the artist intended it to be. Gericault's Raft of the Medusa has been used as an example to me a billion times, but I think that it's because it is such a visually dynamic piece that it never hurts to look at it again, as the prime example of how to effectively use movement to direct the eye to a focal point and maintain somewhat of an organized chaos. I think the explanation of weight and gravity is also an important part of this chapter because it's something that's often not achieved correctly. It requires practice and the ability to kind of step outside of yourself to realize whether or not the decisions you're making will hurt or help to create the right visual weight.

Paul P TOD