#6

“Shooting photographs allows you to see picturesque details in everyday scenes.” – Jim Krause in Photo Idea Index

Jim Krause gives a rousing panoramic of the field of photography, stating that it more than a tool of documentation but one for visual exploration. He lists what he considers to be the main elements of photography.

The first element of great photography outlined is symmetry and asymmetry.  Symmetry in photography is creating an image which can be divided in two (either horizontally or vertically) equal parts where both the parts of the image look same or at least similar. Either of the parts can be a mirror image of the other one. Symmetry has been used in other visual mediums since long back. Symmetry brings the sense of unanimity and harmony. Symmetry can be either vertical, in which the left and right halves will be symmetrical or horizontal, in which the top and bottom halves will be symmetrical. Symmetry requires an eye-catching point of interest and a powerful composition. Without these two elements, it cannot hold the viewer’s attention for long. Achieving symmetry in an unexpected scene can make very appealing photography subjects. Kraus states that people are naturally drawn to symmetry and find it beautiful.

The second element is repetition. Repetition is a basic concept in the world of art. If you want to make a statement, you repeat certain elements again and again. If you repeat something once or twice it becomes more interesting. If you repeat something many times it becomes a pattern and takes on a life of its own. Patterns give us order in an otherwise chaotic world. There’s something fundamentally pleasing about seeing order in such a way that we know what to expect. In most cases, repetition is a tool used to calm the viewer, making them feel comfortable and at peace while enjoying the view.

The third element is framing. Framing is simply using other objects in your photograph to frame the main subject. This is probably one of the easier composition techniques in photography. Framing brings more depth to the picture and a better focus on what the main subject is. It should all be relevant to the main subject.

Close up photography, or macro photography as it's technically known, is a fascinating way of seeing your subject from a totally new viewpoint. By moving in closer you start to see new details that were just a blur of colours from a distance, and the world of nature, for one, takes on a whole new look. Close up photography allows you to shoot things that you may not have previously thought possible. It provide the viewer with a surreal and unique perspective of the world.

Although there are many other elements of photography covered my favorite had to be that of movement. By moving the camera special effects may be achieved. The movement or energy that the photographer is feeling can be translated into a shot. A slower shutter speed on a camera can be used to blur a moving object. Special effects can either have the subject blurred or in sharp focus, the same is true with the background.

These is great reading for starting to understand and appreciate the capturing of a moment; photography in all its elements and techniques.

#5

After reading chapters 2 and 5 of Understanding Comics by Scott McCloud if feel that I have a better understanding for not only comics but icons, art, and communication. The reading explores formal aspects of comics, the historical development of the medium, its fundamental vocabulary, and various ways in which these elements have been used.

The reading begins with the narrating character discussing the implications of the Magritte painting, "The Treachery of Images." Although the subject of the painting is a common pipe, the artist's message reads, "This is not a pipe." The phrase though is French and not readily understood by the intended audience. As Scott explains, this really is not a pipe, nor is it a painting of a pipe. It is actually ten copies of a drawing of a painting of a pipe, when one considers that each panel on the two opening pages depicting the painting actually represents one copy. Scott uses this example to demonstrate one of the many uses of icons, or images used to represent a person, place, thing, or idea. Scott explains that there are three different types of icons. Symbols, including peace signs, company logos, and the like, are one type. The letters of the alphabet, mathematical icons, and musical notes are part of icons related to science, language, and communication. Finally there are picture icons that are intended to actually resemble their subject.  

It was very easy to understand this reading and to stay engaged with it because it was in the very medium it was discussing. It is a nice break from purely text based readings. McCloud defines a cartoon as an image simplified down to its core meaning. These icons become universally understood and in turn amplify their power and meaning to the reader.  It is natural that a reader will begin to self-identify within the icons. Comic artists are attempting to appeal to readers' senses and emotions. McCloud believes that emotions can be made visible, even when just portrayed as ink on paper. Scott explains that the idea that a picture can evoke an emotional or sensual response in the viewer is vital to the art of comics. The classic painting, "The Scream" is provided as an example. Emotions and senses can be portrayed either within or between individual panels in comics. Scott explores the history behind expressionistic art in comics.

The fact that comics are so broadly defined is essentially what McCloud finds so wonderful about this genre. It isn’t limited to just pictures or just texts, or just the combination of both. Comics aren’t just cartoons or limited to fantasy or science fiction and they aren’t created for any specific age group as one may typically assume. Comics are an entire medium of graphic artistry used to visually and mentally stimulate readers and create reactions. Restrictions are thin and tools are vast, McCloud exclaims “No schools of art are banished by our definition, no philosophies, no movements, no ways of seeing are out of bounds!”

I enjoyed this reading for the very reasons that McCloud claims the medium to effective. It was informative and yet very engaging. I have a better understanding of icons, in terms of both their use and power. 

I made a mind map for the upcoming BDS 102

IDEO inspires me. It gets me excited about the future, what we can accomplish, and how I can do it. I watched a video about their design process called the Deep Dive when I was in 6th grade. That video formed the way I thought about ideas and how to incubate them. I have reflected on that video on just about every major design project I have worked on. I have shown it to every design team I have lead. I have seen the deep dive process be successful.

What is IDEO? Who are they? What do they do?
IDEO brands itself as a design and innovation consulting firm. It is viewed as very innovative and claims that its success is due to their approach to design thinking. It “founder” is David Kelley, although the current CEO and leader is Tim Brown. The team in the deep dive video lacks established roles but is largely free form. They largely reject the traditional corporate structure and seek to form a more open and effective structure. David and another employ do end up acting as ringleaders to lead the project along.  

The Deep Dive is an in-depth and lengthy brainstorming process to arrive at a solution.

1.       Understand and observe – research, learn, interview, get the expected users

2.       Synthesize

3.       Visualize

4.       Prototype, evaluate, refine

5.       Implement

They have their credo written around their ideation space:

·         never strike down another’s idea

·         one conversation at a time

·         stay focused on the topic

·         encourage wild ideas and different ways of thinking

·         differ judgment

·         build on the ideas of others

This process is great for working in groups. I can do this in any group project I find myself in for generating solutions. Their mantra will work for finding creative solutions and not downing group members for ridiculous ideas. It will work for designing products in industrial design. Even without other group members this process is effective for individual use.

BDS 101

Assignment 1

“Is my design good design?” “What is good design, what makes it so good?” These are great questions to be asking when creating anything. They are questions that a designer named Dieter Rams attempted to answer.

I really enjoyed reading Deiter Ram’s 10 principles for good design.

1.       Innovative. Not innovative for innovation’s sake, but innovative hand-in-hand with innovative technology.

2.       Useful. You want your product to be used. Why would you design it and include anything that would get in the way of that?

3.       Aesthetic. A product should be beautiful. Your intent is that it is used often, daily even. You don’t want to affect people’s lives negatively by having them become accustomed to an ugly product.

4.       Understandable. A product’s design is part of what helps its user understand how to use it. They work together.

5.       Unobtrusive. A product should force itself on the user. It should be pleasing to look at, but not demand attention other than the fact that it is useful.

6.       Honest. Products should look like what they are. They shouldn’t have a facade that makes them appear to be more or less than what they are meant to do.

7.       Long-lasting. Quite simply, trends don’t last. Products that are trendy will soon look ridiculous and aged. Good design is ageless.

8.       Detailed focused. No guessing on if the user will figure it ou. Every detail of how the product will be used is considered important.

9.       Environmentally friendly. Design to use as few resources as possible. But also, does your product fit in with the environment it will be in? Is it a sign that clashes with the place it will end up?

10.   Have as little design as possible. Forget the frills and excess. Design what is necessary to make a beautiful product that is easy to use. No more.

I tried to internalize this information and find 3 objects around my house that I felt were examples of good design.

Object 1

DEWALT Drill

I own a dewalt drill. It is a heavy duty, pistol grip drill. Dewalt markets itself as the choice contractors and professionals which also allows it to appeal a symbol of quality to the average consumer. I think that this drill is a good design because of its durability, aesthetic, and ergonomics. Ergonomically it feels nice to hold with its rubber grip and a two-finger trigger make you feel more in control. The weight distribution is nice the battery residing in the bottom of the handle. The drill has a black and yellow color pattern that most users associate with the construction business and is also very noticeable. Maybe Dieter Rams would disagree, but I think the casing is beautiful and creates great brand recognition. The functional features of the product make it long lasting with hardened steel gear transmission and a tough outer casing. It fits 2, 3, 4, 7, 8 of Ram’s list.

Object 2

Ice bucket

The ice bucket is such a simple concept and design that I would have thought any design improvements would have been unattractive and unable to stand the test of time. That was until I happened upon this ice bucket pictured above.  It has a handle that is connected to it lid. It can be carried by the handle but can also open the top of the bucket with a push to the handle via a simple hinge. The top of the bucket is thus never lost and it can be opened easily while handling it. The design is also unobtrusive and does not take away the timeless appearance of the piece. I think that this object is a great representation of numbers 1, 2, 3, 4, 5, and 10 of Ram’s list.

Object 3

Iphone

The entire design of the iphone has been what has set it apart from other smartphones. I think that it meets all ten points of Ram’s list. If I had to pick a few though I would say that it is detailed focused, understandable to the user, and has as little as design as possible. Every aspect of the Iphone is detail focused with its hardware seamlessly fitting with a lack of reveals or fasteners; the polished aluminum frame is a solid piece which leads to beauty and strength. The software is almost universally understandable. It relies on stylized icons to communicate the purpose of each command. An example is the weather app that is represented by an icon that has sun and cloud on it. The interface of the phone is a touch screen but the each icon design of the operating software is shaped in a way to denote a 3 dimensional button, inviting the user to press it. The entire design lacks unnecessary frills and obtrusive design. Even the marketing logo used is unobtrusive to the product, using a simple apple on the back of the phone.

BDS 101 #2

Objectified is a documentary about our products and who or what lies behind them. It is the second installment of  three-part series on design by Gary Hustwit. The film has no narrator but weaves its narrative through short comments of thought from designers from around the world. While not all of these designers are well known, several are staples of the design community: Eames, Dieter Rams, David Kelly, Chris Bangle. Each of the designers gives the viewer insight about their ideas on design. By hearing a variety of designer thoughts, each one's individual design process and beliefs begins to appear. My criticism of the film is the lack a of unified message about design. Some of it just the ramblings of designers about the most ridiculous things; the Bouroullec brothers ranblings ("I am like a fox, and he is like a porcupine"),  and the unhelpful comments from Hella Jongerius and Fiona Raby. Perhaps this is partly intentional. The documentary is shot in Cinema Verite style. There is not a narrators voice to guide the film, but instead it as if the viewer has stumbled through the doors of the designer's studio and struck up a conversation. The film documents the creative processes of some of the world’s most influential product designers, and looks at how the things they make impact our lives. Although it features specific products the real topic of the film seems to be what these men and women think about design.

One of the most interesting topics from the film was the ongoing struggle between new product design and the need for sustainability. Karin Rashid remarks, "If the average shelf life of a high-tech object is less than eleven months, why on Earth does anything have to be built to be permanent? It should be all 100% disposable. You know, I think my laptop should be made of cardboard, or my mobile phone could be a piece of cardboard, or it could just be made out of something like sugarcane or bioplastic." One story about being confronted the sustainability of their personal design came from the IDEO team. They described how they had designed a better toothbrush and not even a year later one of them encountered it washed up on the beach: trash.

Every design choice has the potential to change our relationship with manufactured objects and, by extension, the people who design them. It’s a look at the creativity at work behind everything from toothbrushes to tech gadgets. It’s about the designers who re-examine, re-evaluate and re-invent our manufactured environment on a daily basis. It’s about personal expression, identity, consumerism, and sustainability.  Near the end of the film, Rob Walker (from New York Times Magazine) had an interesting comment about our obsession with buying and designing new objects. Basically, while we all want the latest gadgets, it's only your truly meaningful possessions—the ones that define who you are—that you really care about. For example, if there was a hurricane, what object(s) would you grab on the way out of your house?

The film ends with showing the very objects with which it was made; a silent but powerful point about our products power.

Designers Featured in this film:

Paola Antonelli (Museum of Modern Art, New York)

Chris Bangle (BMW Group, Munich)

Ronan & Erwan Bouroullec (Paris)

Andrew Blauvelt (Walker Art Center, Minneapolis)

Tim Brown (IDEO)

Anthony Dunne (London)

Dan Formosa (Smart Design)

Naoto Fukasawa (Tokyo)

Jonathan Ive (Apple, California)

Hella Jongerius (Rotterdam)

David Kelley (IDEO)

Bill Moggridge (IDEO)

Marc Newson (London/Paris)

Fiona Raby (London)

Dieter Rams (Kronberg, Germany)

Karim Rashid (New York)

Alice Rawsthorn (International Herald Tribune)

Davin Stowell (Smart Design)

Jane Fulton Suri (IDEO)

Rob Walker (New York Times Magazine)

SUMMARY OF PROJECT

I had no previous experience with photography, Photoshop, or collaging. This project stretched me to learn new skills and stretch myself while also stretching time and space. I thought that the project was difficult because of the extreme step up in terms of the number of photos. We went from a 7 photo collage to a 75 photo one. I understand that when creating a test collage that it would have been impractical to create one with the final amount of photos. I also had difficulty with the mounting board. It was difficult to find a lightweight material that is readily available in the size I needed. I ended up going with plywood, but in the process of transportation it warped in the extreme cold. This though added to the visual effect of my collage popping out at the viewer.

The area that I chose to photograph, Allen Fieldhouse, was an extremely difficult area to photograph. The lighting drastically changes and is quit harsh. The court is also highly controlled and I had to get special permission to get access. Even with that special permission I still got yelled at during the games I attended. I ended up taking shots from a variety of odd angles because of this.

Through this project I learned many new skills. I really enjoyed getting to learn about resources like the print room. I did find many of the readings very boring. I feel that what I have learned about Photoshop will come in handy in the future.

SPIRIT OF TRADITION

KU’s Allen Fieldhouse is widely regarded as one the most vibrant, energetic, and intimidating arenas in the nation. This joiner collage encapsulates the energy, passion, and tradition that exists around the sport of basketball for students at the University of Kansas across time and space.  The collage documents the individual student while cohesively merging them with the movement of the whole. The warped outline and perspective map the space across multiple games in the men’s NCAA basketball season. The joined photos appear to join with the wooden mounting board that is representative of Allen Fieldhouse’s historic wood court. 

I have decided to do an Allen field house collage as my final collage. My goal is to capture and display the passion and tradition that students at the university of kansas have for basketball

SUMMARY & REFLECTION

SPENCER MUSEUM OF ART, VISITING THE PRINT ROOM

I went with my class to the Spencer Museum of Art. We toured the print room, where curators had pulled relevant works of art from the museum’s collection. This print room is a valuable resource to know about not only for this project, but for those in the future. A curator guided us through the series of photographs she had laid out for us, explained the title, setting, and theme. It was great to see the pieces in person instead of on a computer. It got me thinking of a variety of styles and layouts. I was really inspired by the piece by Gordon Matta-Clark called Splitting. The piece was made of joined photographs, creating a skewed and twisted perspective of the environment by lining up lines of light and shadow across the photographs. I also liked the motion displayed in the grid format of the javelin collage by Eadweard Muybridge.

SUMMARY & REFLECTION

 

WAYS OF SEEING, EPISODE 1: PSYCHOLOGICAL ASPECTS – JOHN BERGER

In this video, Berger points out what is involved in seeing, and how the way we see art is determined by what we know. He stresses the concepts involved in seeing and explains their connectedness with images. It is seeing that establishes our place in the world, but we use words to explain this world. Despite this he argues there is always a distinction between what we see and what we know. He goes on to argue that the real meaning of many images has been obscured by academics, changed by photographic reproduction and distorted by monetary value. Berger makes some very interesting comments that connected his topic of art to photography. These particular comments were of great interest to me because of the nature of my photo collage assignment. Berger stated that photography, in particular the movie camera, changed the way we see images. Cameras were able to add moving images as well as sound to the experience of the viewer. It gave the artist more power to immerse their viewer in their created environment. A photograph was able to capture realistic perspective. Manipulation of images can create unique viewpoints and distortions. For my project I want to employ the art, discussed in the video, of zooming in on certain elements of an image. This can give a singular dynamic viewpoint that differs from the intended meaning of the overall work.

SUMMARY & REFLECTION

MASTERS OF ILLUSION – VIDEO

The film covers the origins of illusion techniques used to create naturalistic art. The tricks and science used to create these illusions date all the way back to Renaissance masters such as Michelangelo, Brunelleschi, and Da Vinci. The main section of the video that we watched covered the development of visual perspective. I found this extremely helpful information for the collage project when creating and distorting this visual principle. Part of the video focused on the work of Leonardo da Vinci. His work was impressive on how to use light and shadow to truly display a form. The process of creating visual perspective through line, light, and shadow is convincing in forming naturalistic images. These concept can be applied to how I arrange my photographs in the collage. I enjoyed the parts of the movie that acted as the attention getter. They tried to apply the principles of illusion being discussed to the field of cinematic special effects. I really enjoyed the attention-grabbing computer graphics that offered a clear explanation of the development of perspective in Renaissance art. While the movie is dated I enjoyed the amount of information that they were able to compact into a half hour video. I hope to use the concept of receding perspective lines when creating my collage.

SUMMARY & REFLECTION:

 

PHOTOGRAPHY CHANGES EVERYTHING – MARVIN HEIFERMAN

In Photography Changes Everything, Heiferman attempts to offer a rethinking of how photography is impacting our culture and lives. He states that photographs encapsulates information and values, while attempting to shape our knowledge of and experience in the world. Photography Changes Everything gave me brief yet better understanding of the history, practice, and power of photography. Heiferman makes a similar shares a similar sentiment with Susan Sontag. They both focus on how the proliferation of technology has changed how photography is used as well as our society with it. We now have cameras with us everywhere we go. While this was once a luxury technology out of the public reach, it is now something that many, including myself, take for granted. Taking photos is now common place. From documenting gatherings with friends to “selfies,” photography is a way for many of us to capture moments our lives. The accessibility for capturing these moments makes photography all the more necessary in our lives. We see it now as a necessary part of the process of our memory and personal narrative creation. While these photos may not be framed in galleries, they are arguably of greater importance to our individual lives. Photography has moved beyond the walls of the gallery and to the walls (or at least Facebook Walls) of the individual. This reading makes me consider how and why I use photography in my own life. I would like to apply my thoughts on this reading to my collage by incorporating a more personal view of my own life and that of my subject

test collage:

in this test collage i attempted to keep the perspective lines consistent throughout the collage. This collage features the art display cases in the Art and Design building. The art works are featured in a overlapped pattern and the darkness of the photos to communicate movement down the hallway

test collage: skate

test collage 2

test collage

Test collages were used to refine my initial location and image ideas. I made small test collages for each location using around 8-10 photos. Instead of using 4x6 printed photographs that were physically collaged, I arranged the photographs on my computer using Photoshop. I presented these concept collages to my class, explaining the mapping of time and space. I received constructive criticism from the class regarded each specific test collage.

quotes that inspire me for the collage project:

“I’ve no doubt that the joiner photographs I took will make people look at everything in a more interesting way. But good photography has always done that – made you see things. And the most ordinary can be the most extraordinary.”

– David Hockney

"To me, photography is an art of observation. It’s about finding something interesting in an ordinary place… I’ve found it has little to do with the things you see and everything to do with the way you see them."

- Elliott Erwitt




Project for BDS 102

Project Description:

Using the technique of collaging, I was to create a portrait of a person or place over an extended period of time and space. 



A specific style of collaging was to be used, called joiner photography. Joiner photography is done by taking individual photographs of a scene to create a larger one by physically overlapping them or by digitally merging them. Many directions can be taken with the image in terms of shape, viewpoints, subject, narrative, time and style. Joiner photography allows it’s user to create a more unique work. This collage project was to document a unique relationship to time and space by intentionally compressing, extending, and altering both.


Over 75 photographs were to be physically collaged and mounted. The photos were to be printed 4” by 6” matte and then mounted.

We don’t read and write poetry because it’s cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering – these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love – these are what we stay alive for.

To quote from Whitman,

“O me, O life of the questions of these recurring. Of the endless trains of the faithless. Of cities filled with the foolish. What good amid these, O me, O life? Answer: that you are here. That life exists and identity. That the powerful play goes on, and you may contribute a verse.”

“That the powerful play goes on, and you may contribute a verse.”

What will your verse be?