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Monthly Archives: November 2012

My architectural movement for the magazine project is Greek Revival. I am going to use images of The Great Court of The British Museum designed originally by Robert Smirke with a recent redesign by Lord Foster, The Capitol Dome designed by Thomas Walter and The Lincoln Memorial designed by Henry Bacon. For my own choice of architecture I am going to use images of modern architecture that consists of lots of clean, geometric lines.

edit: I have decided to use different images for my article on modern architecture as these weren’t high res enough.

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Digital Art is the term used to describe artistic works that use digital technology as an essential part of the creative process. Some argue that this type of work is not real art as infinate copies can be made and so there is no original. It can be entirely computer generated or can be taken from other sources such as scanned photographs or images drawn using vector graphics. 3D graphics are created through the process of designing imagery from geometric shapes or polygons to create three dimensional objects.

This piece is by Mark Wilson, one of the pioneers of digital image making. He created images like this one using digital software that he ran several times to produce a large number of images, and then drew the most successful images together. The final appearance of the piece depended on his own editing process.

http://collections.vam.ac.uk/item/O164447/e4708-print-wilson-mark/

This is a print showing a curved wall and is one of a series of 19 digital prints incorporating
traditional woodblock printing and digital design. It was the result of a workshop held at Wimbledon School of Art, in which the artists explored the integration of traditional woodblock printing with digital
technology. This piece really reminds me of the work of Richard Serra and shows how a sculpture could be translated into a digital format.

http://collections.vam.ac.uk/item/O112975/panorama-print-sugiyama-akiko/

This is the work of graphic designer Amirali Ghasemi and is from the series Parties that shows young Iranians socialising in private homes, their faces and other exposed flesh blocked out to protect their identities and also to call attention to the subversive nature of their actions under the current
regime. Ghasemi states that depending on their contexts, his works ‘are interpreted very differently and associated with subjects such as censorship, women’s rights, the hijab, and Islam’.

http://collections.vam.ac.uk/item/O1159917/parties-photograph-ghasemi-amirali/

Peter Kennard has used computer-aided design in his work since 2002. With the help of Kat Picton Phillips, he has produced a portfolio of 15 plates addressing the American invasion of Iraq
in 2003 and its consequences. The images are scanned composites of old war medals purchased in Camden Market, London, their ribbons severely distressed by the artists. Of the project, the artist have said, ” wrote ‘We gritted the scanner, bled on it; threw torn-up rags, flags and ribbons on it; poured oil then stamped on the stuff, burnt it and spat on the lot…In some of the images we used photographs taken with great bravery by documentary photographers in Iraq. Their commitment to keeping us informed often showed us the extreme degradations that this war has brought upon the Iraqi people.’”

http://collections.vam.ac.uk/item/O119111/award-made-during-the-invasion-print-kennard-peter/

Sources:

http://www.digitalartforall.com/15/what-is-digital-art/

http://en.wikipedia.org/wiki/Digital_art

Made in the late 1950s to mid 1960s, site specific art started as a decontextualisation of the museum space. The term refers to the artists intervention of a specific space, creating work that is integrated into and explores a relationship with its surroundings. It applies to work made by an srtist in a landscape either by manipulating the terrain to produce earthwork or by creating temporary or removeable art. It can also apply to an environmental installation or sculpture created especially for a particular gallery space or site.

One example of site specific art is Soft Shuttlecock by Claes Oldenberg and Coose Van Bruggen created specifically for the Frank Lloyd Wright designed rotundaof the Guggenhein Museum. The work humourously deflates the imposing structure of the building and diminishes its relative scale while underscoring the museums role as a site for both culture and education as well as entertainment and recreation.

An example of earth work is Robert Smithdon’s Spiral Jetty, asculpture built from mud, precipitated salt crystals, basalt rocks, and water. It is built on the Great Salt LAke in Utah. The water level of the lake varies with precipitation in the mountains surrounding the area, revealing the jetty in times of drought and submerging it during times of normal precipitation.

The Gates was a site-specific work of art by Bulgarian artist Christo Yavacheff and French artist Jeanne-Claude. The artists installed 7,503 vinyl “gates” along 23 miles of pathways in Central Park in New York City. The work was also specific to the season they were erected in, winter, as this is the only time when the trees have no leaves and so the gates can be seen from a distance. A visitor to the project said, “I saw the drawings, and I thought they were extraordinary, but seeing the scale, and how it mimics the terrain of the park, and then the interaction with people, and the light through the fabric as it changes color — it’s just extraordinary.”

The Red Ball Project is another example of site specific artwork, but that has the ability to be moved in order to become specific for somewhere else. The project began as a commission by Arts in Transit, an award winning public art bi-state agency based in St Louis but since then, artist Kurt Perschke has traveled around the world, squeezing this huge red sculpture into various spaces, such as under bridges or inside arches or even bus stops. Perschke has said of the project, “As RedBall travels around the world people approach me on the street with excited suggestions about where to put it in their city. In that moment the person is not a spectator but a participant in the act of imagination.” He calls it an opportunity to engage with the public – people get to interact with it, touch it, push on it, jump against it.

I really like the idea of making my project site-specific, but because I am creating digital art, I dont think its really a possibility. I think site-specific works because it gives the viewer the opportunity to interact with it – they need to be able to be near the structure in order to get a sense of its scale and feeling. Though I still may experiment with placing my sculpture into various locations, I feel that it would most be suited to quite an empty space, like in the piece I took inspiration for the project from. My sculpture is going to be personal to me, whereas site specific art has the ability to become something to, and ignite emotion in the viewer, so I think placing my piece in a blank space would allow its subject to become the main focus and doesn’t really let its surroundings influence or change what it means to me.

Sources:

http://www.voanews.com/content/a-13-2005-02-15-voa44-66374907/547181.html

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Site-specific%20art%2FEnvironmental%20art&page=2&f=Movement&cr=11

http://www.guggenheim.org/new-york/collections/collection-online/show-full/movement/?search=Site-specific%20art/Environmental%20art

http://braxler.com/tag/public-art/

http://www.dailymail.co.uk/news/article-2107891/Kurt-Perschke-Giant-RedBall-Project-invade-UK-summer.html

These are image transfers onto fabric using pva. The one on the right didn’t turn out very well as when I used a damp cloth to remove the paper, I some how removed most of the image without realising. I think I was scrubbing the image to hard, and maybe the cloth was too damp and everything came off at once so I assumed there wasn’t any black there in the first place., but quite obviously I was wrong! The one on the right is an image on fabric that is dyed with red ink and it turned out slightly better as I was more conscious of not removing the image, but there are patches where it still came off. I also dont think the paper has come off very well in places because I was too worried that trying to remove it would remove everything. Although I enjoyed the process, I think I would need much more practise doing this before they looked at all presentable and so i dont think I’m going to use this technique in my project.

These are the image transfers using a solvent to copy an image onto another surface. I quite like how these turned out, they remind me of old fading photographs. You can see the variation between them depending how much solvent you use. I like that the second one looks blurred, like its showing the movement of him walking. I would like to experiment with using this in my project, using the work of Niel Spiller.

This is the photo I worked from and I quite like the effect the solvent had on removing parts of the image. So I could maybe use both the original image and the transfer in my project. I will also use photocopying for my piece, and would maybe like to experiment with different surfaces, such as acetate.

 

When I began thinking ideas for graphics for my posters I couldn’t think of any ideas just off the top of my head, so I thought it would be best to expand on the ideas I came up with in my mind map and think of possible storylines. I tried to think of more than one genre and came up with Romance, Action, Thriller and Sci Fi. Although I liked the romance and sci-fi ideas best, I felt I should experiment with some drawings first because the better stories might not necessarily mean good ideas for graphics. I struggled to think of ways to incorporate corners into my designs. For both action and thriller I used a labyrinth to sort of reflect this idea and for sci-fi I literally used a corner that is meant to show the corner of the universe (in my actual design I want it to look like there is a flash of light behind this, but couldn’t work out how to draw in on paper!) For romance I used a line and thought it could either be a trail of a gunshot, a break in the middle of a heart or just somewhere for the text to flow on. For the one with the text, I still used a gun and like the idea of the letters exploding away from the shot, with maybe bleeding love hearts coming off this too. I then chose to expand on the romance, sci-fi and thriller ideas, as I liked action the least. In case its hard to see, the action idea is supposed to be two people in a labyrinth, with a gun shot firing through a timer in the centre.

Here is a bigger version of my original thriller idea. It’s supposed to be the stalkers head with a labyrinth inside his mind and a reflection of the main character in his glasses. When I started this idea, I like the idea of making it look like a collage, like the Frido poster in my research. But I decided more could maybe be added to the image and liked the idea of using a skull to symbolise death. The outcome of this is below.

I like this idea better as it gives more information about the story and I think just looks much more interesting. For this design, I want the skull to be in the bottom half of the page, to allow for the title and other information above this.

This is an idea for a sci-fi poster. It’s quite similar to my initial idea, except that I’ve used earth as the planet in the eye instead and made the pupil look like some sort of colliding planet or asteroid. I like this idea but if I was to pick this as one of my final designs, I’d want to experiment with how I incorporate the corner into it because I don’t feel happy with where it is at the moment.

This is also quite similar to one of my original romance ideas, except that I’ve made the love heart the pupil instead, and used the title as eyelashes. I like this idea but I’m not sure that its interesting enough. I had thought of adding a reflection to the eye, maybe of the couple with the backs turned, so if I choose this as one of my final designs, I’ll have to experiment with this some more once I’m on the computer.

Finally, I would like to experiment further with this design, where the type explodes aorund the gun shot. I think I need to get onto illustrator to do this though, because I’m struggling on to do it on paper and would like to have a look at possible typefaces I could use.

In terms of the style of my designs, prompted by my research for my contextual studies project, I would like them to have the look of old book covers like those above.

http://www.magspreads.net/2012/02/poster-magazine-toko-design.html

I like how the covers of these magazines are designed to allow for any image, as the text is quite separate and the design is simple and not overpowering. I don’t really like the pink stripe though! In the second image, I think its clever how the photograph and type is placed together, it shows that they don’t have to be limited by each other. I like the simple design of the double page spread with lots of white space and the text that looks quite light and elegant on the page.

http://www.magspreads.net/2012/08/cream-magazine-covers-and-spreads.html

I like the design of this cover for how simple it is, with only a photograph and the magazine name. I think in mine though, I would like to try adding some sort of a contents so that I have more to work with. I think this works well at looking quite unisex, I’d say the font could be slightly more feminine, but used in this way it appeals to both men and women. As for the double page spread, other spreads in this magazine share a similar format, but using different typefaces for the titles gives each of them a slightly different look and suggests the feeling of the piece. I also like the use of a full bleed image, and obviously the use of lots of white space.

http://www.magspreads.net/2012/07/trendi-magazine-spreads.html

The double page spread here shows examples of ways images can be overlapped. I dont particularly like how the text has been laid out though, there seems to be no sense of heirarchy and just from glancing at it, I can’t tell where the starting point is supposed to be. On the cover, which is obviously very feminine, I like the bold title and image that includes some hand drawn typography.

http://www.magspreads.net/2011/03/ling-magazine-santos-henarejos.html

I think I like parts of this cover the least out of the others here, because I personally feel that the title looks a bit stuck in the corner and isn’t well balanced with the striking photograph. I do like how a contents has been included down the side though. The layout of the text used in the double page spreads is quite unusual how ones wrapped round the other, although it doesn’t made it harder to read but I think I prefer just simple columns. I think its interesting though how the photographs on the next page sort of reflect the shape of the text.

http://www.magspreads.net/2012/08/geiger-magazine-student-showcase.html

The cover is this magazine works well because the black and white colours would likely look good next to any image,and because the text is separate from the picture, there isn’t the problem of trying to fit the two together without taking the focus away from particular areas. I also quite like how the issue number is made to be an important feature and that the features are displayed in a simple way, but that still attracts attention. I also like the way the spreads look, they allow for lots of breathing space, and the text is layed out in a way that doesn’t look intimidating, but is balanced enough against the images. The top article is about music,and the typography on the left page creates a visual representation of the flow of music. I hadn’t thought to experiment with typography to convey a message in my own design, but this is something I would now like to consider.

http://www.magspreads.net/2012/07/rane-cultural-section-of-il-magazine.html

I liked this magazine for the design of its infographics that are seen throughout. The style of it is consistant throughout and uses the same set of colours and fonts. I like this approach, but I think this could make the use of photographic images difficult as the dynamic of a photograph can effect how the rest of the design looks and feels. Frogs seem to be used a lot in their articles, I think this is a nice idea – to have something associated with the magazine appear in the designs.

http://www.magspreads.net/2011/12/nevertheless-issue-3.html

Shown here is the front and back covers of an issue of Nevertheless magazine. I like this because of the simple design and layout. All information needed, other than the barcode on the back, is placed within a white circle which means almost anything could probably be used on the covers and would still look good. This is something I have to try to achieve in my project and is why we have to create two different front covers – so that our design is able to work with a lots of different images, and still look good and inviting.

http://www.magspreads.net/2011/11/bacanika-magazine-diego-olarte.html

This design caught my eye because of the way the text fits around the image and how the image fades into the white space. Because the picture has a lot going on, I think this helps to bring everything together, stopping the text from feeling lost on the page. The bold header allows for a heirarchy within the different pieces of text, and the way it is positioned, to me, mirrors the shape of the skeletal mammoths head.

http://www.behance.net/gallery/Orekhprom-booklet/545587

I really like the cover for this magazine as it includes information about the features, but in a much sleeker way than if it were to be all over the page in huge text. I like the use of white space, but I think it looks less interesting than some of the other covers here. In my own designs I think I’d like the image to take up the entire page, like in some of the magazines above. I like the simple header and folios at the top of the page too, as well as the way bold fonts have been used in places to balance out the design and images.

For this exercise, we had to experiment with possible layouts for a magazine spread. Here, the top half are symmetrical and the bottom are asymmetrical. Though theres more freedom with where things can be placed when the design is asymmetrical, I actually found these ideas harder, I think I find design easier when there are more bounderies and requirements as this gives me a starting point to go from. Even though these are just rough sketches, I’m quite happy with how they look – I tried to embrace lots of white space to keep a modern feel to them and experimented with picture size and position.