evolution and documentation of tools

Documentation of tools:

Documentation of Taxonomy

My final product for my book of taxonomy ended up being quite different than how I had first thought of it, however it was fundamentally the same thing.

My initial proposition was this:

TAXONOMY PROPOSAL

As the process of creating the book developed, I had made some changes with the size of the book. Initially I had proposed the 8.5 x 11 - which is the size of the paper that the original marks were on. This lead to problems with me being stuck to this format - and it made me subject to already set compositions that were not visually appealing. So then I sized it down to 5.25 x 6.25 and selected part of the pages that I thought were interesting.

I then broke up my marks into three sections which were identified denotatively (with the tool that made the marks). then on each page there was a label that pointed out the different connotations that some of the marks made. I made a point of not marking all of the analogue shapes because I wanted the viewer to be able to be more involved in imaging for them selves what some of the marks would be.

Then I made the decision to put a backing on each page to make the whole book more refined. the first paper that I tried did not work because it was too white and had a lot of texture which made it distracting. So then I hand-died more paper and applied that to each page.

The cover I made metal. The same material that is on the back of each page is on the front and back cover. Metal seemed to me to be the easiest material to manipulate. It is also sturdy.

FINAL REFLECTION

1.

This project had two parts: The book of taxonomy of marks, and the haiku. Both of these projects had some aspect that was closely related to one of the two projects that we did previously. We have been using some of the same principles of design in every project.

Reflecting on the very first project that we did (the dot project) I can see we used abstract images to communicate, not representational or symbolic. Throughout the semester we have only really used abstract images.

It is always important to keep in mind that visual abstraction is the simplification of a more complicated and deep meaning.

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SIMILARITIES IN PROJECTS ONE AND THREE:

We used visual abstraction to communicate certain concepts in the dot project, and also later in the book of taxonomy and the haiku.

Also in Project 3 I did at times keep in mind the 12 core priciples of design: These were used periodically in the taxonomy and the animation - with the compositions of the analogue marks and the digital compositions of the flash haiku:

1. allignment

2. framing

3. symmetry

4. asymmetry

5. scale

6. continuation

7. proximity

8. positive/negative

9. compound shape

10. repetition

11. correspondence

12. layers

Just as we looked at using transparency and including text with our compositions in the dot project, we also introduced type into the flash project, and had to consider how it fit into the composition.

Throughout the semester I made a point of using mind mapping as much as I could in order to help me think of plenty of ideas, and not get stuck with just one thought. We also made thumbnails scetches with iterations which helped us through the creative process.

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SIMILARITIES BETWEEN PROJECT ONE AND PROJECT THREE:

With Project 2, we began making lots of abstract line compositions and manipulated them by hand with UNTRADITIONAL TOOLS - thus getting unexpected but interesting results. This is what helped to make the final result visually appealing and not so artificial.

Throughout the semester (especially in project 2 and 3) I continued to practice effective and practical file management.

Just as we focused on a cohesive theme with our accordion book of juxtaposing spreads, we had to find a way to make a book of taxonomy that clearly communicated our connotative and denotative meanings.

In project 2 we learned how to digitalize our images using both photoshop and illustrator. Throughout both projects I was able to learn and fortify my skills of the digitalizing and vectoring process.

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In addition to strengthening my understanding of the principles that were learned in the previous projects, I also was introduced to a few new principles of design.. and stuff:

In the third project I was able to strengthen my understanding of how language and form can be intermingled, and how to construct something that has a visual and conceptual to something that already exists (haiku animation).

Also, in the midst of the process, I learned what an ICONIC shape was (a simple form that has cultural connotations) and also abstract shapes (what we have been using throughout the semester).

With the taxonomy project I learned about connotative and denotative meaning. These concepts had to be clearly presented in the book of taxonomy. (the denotation in the book was represented by the tools that I used to make the marks which then became shapes that had apparent connotations).

There was a particular process that was developed when making all of the analogue shapes and when creating the thumbnail iterations:

Process: Selection (chose the marks) > iteration (made different shapes with the marks that were similar) > validation (selected the most successful shapes and then repeat until you find the best result.

Also, there were that were learned for the flash animation:

The five basic transitions:

1. Transparency

2. Zoom

3. Pan

4. Wipe

5. Morph

It is usually best to use many of these transitions simultaneously as that helps to trick the eye, and helps to make the motion more complex, believable, and sometimes more realistic.

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ALLLLLL of these things that were learned this semester will be extremely useful to know in the next semester. Knowing all of the principles of design is what make a successful designer.

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2.

This is a spread that juxtaposes one of the manipulated line studies (progression) and a photograph that was selected from my archive of photos. This particular photo was selected because of its visual similarities to the line study.

I find this particular juxtaposition to be interesting. It is especially appealing in a visual sense because of the complexity of the lines and the smoothness of the curves.

Despite this, it was left out from the final layout of spreads because it was not quite as succesfull as it could be. First of all, in the photograph, it was not clear what the image actually was. In the rest of my images in the 'line book' were clearly located somewhere in the city. It was also clear that this particular image did not quite fit in with the narrative that I was trying to express in the book.

So, because of this, I made a decision to not include it in the final book, however fond of it I was. Looking at it now, I am glad that I stood by my decision to not include it into the final book.

VIS COM find and share

This short video has all of the elements of an animation:

Transparency (54.00)

Zoom (beginning)

Pan

Wipe

Morph

Also an integration of text. (and a little logo design in the end).

http://www.dailymotion.com/video/x6vjh7_snow-motion-nouveau-sur-c5_auto

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With our animation we began by making marks with our hands.

Tthe following animation is done real time by hand (with sand) – so the animator has to be very creative with the transitions. (some transitions at 1.45, 3.30, 4.35, 6.10)-

This animation also demonstrates the fact that sound is a very important element.

http://www.youtube.com/watch?v=518XP8prwZo

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VIS COM reading response: bitmap v. vector

It's especially good for anyone who edits on the computer to know that a bitmap image is simply another term for a digital image. When I heard the word 'bitmap', I always imagined that it was juts another type of file. To put it simply, "while a .jpg file is always a Bitmap graphic, a Bitmap graphic is not always a .jpg file". (http://www.eastbywest.com/pub/vectorbitmap/).

A bitmap, or digital image is made up of a bunch of dots, or rather squares. Much like some pointalistic paintings that exist, only a computer has the squares lade out mathematically on a grid so that is may easily refer to them and make changes to them if a person desires to manipulate the image in a certain way.

The more pixels (squares that make up the image) in a digital bitmap file, the better the image looks. The image becomes distorted if when you try to make it bigger. If there is not enough information (that is square pixels) then the computer won't know what to do when you want the picture bigger, so it will make things up. And that's not nice.

A vector image is different than a bitmap image. Depending on what it is that you need to do, a vector image can be more convenient than a bitmap because it is much more simple. when you make a line with a vector tool, all the pixels of that line are black, or whatever color you want - and so all the pixels that are put together are one solid color. and that's nice.

however, there is only so much one can do whilst making an image with a vector tool. usually, a vector image should not be complex because it always ends up having the same undesireable (in my oppinion anyway) effects. Making a simple design with a vector image is often very convenient, because it can easilly be reshaped, resized or duplicated. and that's really nice.

Visual Communication - proposal for taxonomy

The design of a taxonomy should be straight forward and easy to understand. That is what I aim to do with my taxonomic collection. The structure of the document will make it easy to refer to any particular denotative or connotative mark.

Every item will be denotatively labeled. My aim is to have each page labeled with the identification of the shape that that object made.

If there is a connotative significance in any particular mark within a page (and it is relevant to the project) then that mark will have a special label.

Labeling may be done using one of two methods:

-by hand

-pasted labels

In order to make it easy to refer to any particular mark-making technique or any denotative mark, I well have glossary at the begging of the book which numerically refers to any particular counterpart.

Each page of marks that I have will be pasted to a thicker piece of paper so that the book as a whole is flat and sturdy. It will then be bound with a spiral-like spine.

READING: URGE TO MAKE

People generally like to make things, and artist naturally like to make things. We get the most satisfaction, or at least I do, when we make things with our hands - even if doing so is not altogether easy. One thing Lioni said that was interesting was that "If I didn't make paintings and sculptures, then I would be content making bricks, tiles, or boxes...". I am inclined to feel the same way - though it the more one is able to use the mind and creativity in making things, the better.

In this project, there is already a certain amount of satisfaction in seeing and handling all of the work that I am producing. With every object that I've chosen, and with every mark that I've made, I feel as though I am on my way to creating a satisfactory artifact.

reading "anatomy of a visual message"

We learn and understand things visually. We may presume that we visually perceive what is real.

With our eyes we see what is real. We 'represent' reality visually with two dimensional objects being paintings, photography, or other methods of recording. A representational, two dimensional image is something that is as true to reality as possible.

In order to understand a real image in different ways, we simplify and focus on specific features of what we really see. Through this method of simplifying something that is real with a two dimensional image, we are able to better communicate certain specific aspects of reality.

Symbolic images are images that are considerably simplified in order to quickly and effectively communicate something visually. a symbolic image is something that can be produced quickly and often. It is an image that is abstracted to a certain extent, so that it can clearly represent its realistic (visual or conceptual) and more complex form.

Symbolism also has a connection with society, and how people develop certain visual characters (symbols) which are used frequently to communicate a specific message.

Visual Communication - Haiku

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

MIRROR ~ POND OF STARS . . .

SUDDENLY A SUMMER

SHOWER

DIMPLES THE WATER

Sora

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~LINE one:

1. reflection

2. aqua

3. fall/decend

4. bright (stars)

5. shine

6. inside

7. serene

8. quiet

9. blue/dark/chill

10. aqueous

_______3_____

reflections

fall

serene

~LINE two:

1. drench/soak

2. refresh

3. swift

4. surprise

5. shelter

6. promise

7. gleam/shine

8. raindrops

9. abate/cool/chill

10. shine

_______3_____

swift

raindrop

drench

~LINE three

1. Ripple/dimple

2. wave

3. movement

4. fresh

5. smooth

6. fold

7. infusion

8. disappear

9. undulation

10. uprise (splash)/ elevate

_______3___

impression

uprise

undulation

http://sacred-texts.com/shi/jh/jh02.htm

FINAL STATEMENT

The whole process started out very simply. taking simple line studies and then manipulating them by hand with the different tools was an exercise that help to understand how significant a line could be. just two lines could easily show you a perfect example of a figure-ground relationship in an image. then to see these images change dramatically by making them curved and diagonal was interesting.

An exercise in photography was the next step. Taking all the lines studies that had been observed, and thinking how they would relate to real life imagery in Kansas City was not entirely an easy thing to do. It was important, in the beginning, not to try to find imagery that was too complex lest a formal juxtaposition between the line study and the photograph was too difficult to create.

Within the city, there are so many lines, and objects, and shapes and shades of color. It's quite overwhelming at first to compare the line studies with what one sees in such a large environment. But after much experimentation, things finally started to come together. Though it was difficult not to try to force two things together, however strong they might be in the end. One thing that was learned, which is important, is to let go and to move on when something does not work. It was a lesson in practicality.

Once a series of juxtaposition spreads of photographs and their corresponding line-studies had been developed, it became more clear how they could be changed in order to make the formal comparison more clear. It was necessary to often manipulate the photograph with digital tools, and and to change the sometimes rough/raw line study images so that they would be both visually appealing. A lot was learned by using photoshop to change the photographs, and there was a considerable amount of hand eye coordination that was developed in tracing the raw line-studies for the refining process.

Looking at the series as a whole was a further challenge. there were still more iterations and editing out of an entire spread at this point. It was important to find a good balance of imagery, and tone in order to keep the visual formality.

At the same time there was a vague, conceptual aspect to the configuration of all of the juxtaposed images. I tried to make sure that there was a variety in imagery and to make it clear that what the book was about was simply a modern and veritable metropolis. I liked to notice things that people didn't often bother to stop and look at - I wanted to focus on the things that are always seen, but never really thought of. S

The format of the book changes in by the middle. It goes: aB - aB - aB - Ba - Ba - Ba. This created a subtle, yet in some way noticeable change, which helps somewhat to keep the viewer engaged in what they are seeing, and to perhaps notice the unnoticed subtleties.

SEQUENTIAL PROCESS

Project 2 reading response

By working in graphic design, one begins to realize more and more the importance of focusing not only on the figure with in the picture, but also the ground and how it relates to the figure. As a graphic designer, it is important to see the balance, or imbalance, in an image. In the juxtapositions, it became clear how important the balance of the positive and negative of both the photograph and the line study. In arranging the images, it became clearer that the negative space might easily have more importance than the positive space, or ground. This idea is very intriguing. It is a concept that is very useful (if you are aware of it) as a tool when creating and arranging any image.

It is also important for a graphic designer to be aware of the framing of an image. In real life, we see frames surrounding us everywhere. Once we start to think about this, we notice frames in so many places in our environment, and begin to see and understand how frames work.

Jacques Derrida does the best job at understand and explaining the essence and function of a frame: ..."The frame is subservient to the content it surrounds, disappearing as we focus on the image or object on view, and yet the frame shapes our understanding of that content". After studying the lines, and comparing the photographs to the lines, the frames of each composition started to either 'pop out' if they were awkward, or 'fit in' if they were subtle and worked well. This is where experimentation on the cropping became vital for creating a well balanced and successful composition.

It is important to a graphic designer to remember that "frames are part of the fundamental architecture of graphic design" (Lupton).

J + S

The simplicity and imagery of this 1930s poster is very appealing. The close proximity and the similarities in how each transportational device is visually manipulated makes for a good example of how one might use juxtaposition. The correlation of the car, train, plain and globe all going the same direction clearly and instantly communicates to any viewer the idea of motion and efficiency. The major similarity of each object in the image is the solid colors.

The text on the bottom nicely completes the image, with it's own juxtaposing aspects.

WORK DAY PROGRESS

Critique:

I received a considerable amount of insight from my group (Brandon, Raynaldo, Brit, Sarah)

~ I need to have more of a formal comparison in some of my compositions.

I intend to simplify with the vectorization process.

~I need to make sure to include more diagonals in some line studies.

I agreed.

~I must fix the pixillation in some photos.

This is important, and will improve the compositions.

~It was recommended that I simplify some line studies in order to help each composition seem more cohesive.

I intend to do this in the vectorization process.

~Density in lines, and various line widths are a key to making a composition interesting.

I will continue to look for such qualities in line studies.

~I should pay attention to the grayscale on the images. Does this help the composition?

Sometimes yes, sometimes no. I'll keep that in mind.

~I did a pretty good job on my vectorization drawings.

I'll keep that up...

~I might think about zooming in or out on some images in order to help with the formal comparison.

I intend to do this with one or two compositions.

~My photographs are mostly interesting.

This is important. Each image should make for a visually appealing composition.

~I should not include any space between photograph and line study on my spreadsheet.

So that i may fully understand the formal comparison.

~I continued to work on new compositions and to practice my vector drawings. Here are a few of the ones that I am currently working on:

Vector line drawings:

^ This is a vector line drawing of the last spreadsheet that is

shown above.

Exploring a possibility which has potential? Looking at the composition this way helps to give me new ideas at any rate.