PRIN 351/498E Digital Print Processes I and II, Studio AA,
Fall 2010 - Monday 18:30 - 22:30
Location: EV-5.815
Instructor: Anthony Vrakotas
Office/Studio: EV-6.435
avrakotas@gmail.com
Class Blog: http://digitalprintprocess2010.blogspot.com
Course Description.
This course will focus on digital print from a multi-angle perspective, as a technology, as a concept, and as a cultural mode of image mediation. This course will also deal with the fundamental methodologies necessary in the creation of digital art and early demos will deal with the basics of file creation, organization, and the basic frameworks and concepts of digital media. These demos will focus on Adobe Photoshop and Illustrator for print output, but projects can be completed in any digital media and with any intended output (ie. Online, animations, projections, etc.) Lectures and critiques will focus on theoretical, critical, and aesthetic issues in contemporary digital media. The digital within the scope of this class will be expanded to include the entire concept and not just the technology. It will deal with the numeric, systematic and binary concepts that make a work digital even if computer mediation is limited.
The three main concepts we will deal with throughout the term are, the digital as...
Technology. What is a computer? How does it work? How do we interact with it and what potentials exist for interactions with it?
Concept. What does it mean for something to “be” digital? What is the difference between analog and digital modes of creation and perception? Can the digital as a concept exist outside of computational modes of creation?
Culture. What has changed since the digital has become dominant and ubiquitous in media creation and diffusion? How has it affected our notions on aesthetics, photographic truth, perception, etc.?
Grading
Breakdown:
Project 1 20%
Project 2 20%
Project 3 25%
Participation 15%
Final Portfolio 20%
Grading will be based on the following criteria:
Projects will be graded based on both technical and conceptual levels requiring:
• A clear indication that the work produced is based on solid understanding of the technologies used (process). Technical proficiency will be judged through a combination of an examination of produced work and ability to discuss the process clearly.
• A clear indication that the student has a good understudying of the conceptual/theoretical/critical content of their work. Conceptual/critical understanding will be judged based on participation in class discussions, ability to clearly articulate intentions and ideas during the critiques and through written proposals.
Participation will be graded by taking into account regular attendance during scheduled studio times, regular participation in class demos, discussions, critiques, student blogs. (Students should note that missing three or more classes without providing adequate documentation may constitute a failing grade for the course and that leaving the class early or arriving late will be considered as an absence.)
The final Portfolio will be graded based on the inclusion of all required content(see next section for details) and through an examination of all files, references, and sources used to create each project.
Final hand-in Portfolio Requirements:
- All work files (with layers)
- All source images (unmodified), digital shots, scans, google downloads, etc.
- Sketchbook, references, ephemera, etc. (non-digital materials) OR Blog (regularly maintained)
- Printed work (or objects produced)
- Misprints or printed explorations
- Copies of all written materials (proposals)
- Annotated index of portfolio contents
Blog (optional) will be graded as part of your final portfolio and be based on regular contributions (at least 1 per week).
Projects
There will be three projects for this class presented through three class critiques. Class critiques are treated as exams and attendance is mandatory. Failure to be present at a critique will obtain a failing grade for that critique unless valid reason and proof is presented and the student is excused by student affairs.
Each project will require a 1-2 page written proposal that outlines:
- The research topic or subject
- Methodology
- Potential obstacles (Technical or conceptual)
- Materials and techniques that will be explored
The proposal will be used as a jumping off point for the critique and we will discuss where and why things did or didn’t change. Projects should follow the proposed outline, but room will be made for changes midstream as long as they are justified and the reasons well articulated. This serves as a way to structure the project, keep it in scope and, also, as a way to enforce a more conceptual approach to art making that will reduce the amount of last minute unjustified decisions.
The overall difficulty and ambition of the proposed project will be taken into account when grading the final project. This proposal does not need to state what you will create specifically. It can outline your research, intentions, and explorations and leave room for the idea and image to emerge as the project is being worked on. Treat the proposal as a contract you are making with yourself to keep you on track and to guide your explorations.
Students enrolled in the advanced section of the class can propose their own projects or follow the assigned projects. I still require written proposals. If the student is going to pursue a larger full semester long research project then one more detailed proposal can be handed in. If the student will do 3 projects then I will require 3 short proposals. In either case, the advanced section students will still be required to present either completed work or works in progress at each of the 3 critiques.
Project grading note: Projects will be graded based on what is presented at the critique and not later. Missing or unprinted projects will be penalized the full critique grade and 5% per day that the final piece is not handed in. It is the students responsibility to troubleshoot often and early in order to avoid technical blocks that result in unfinished or unprepared work. If you feel that something beyond your control may get in the way of delivering your work on time speak to me privately at least a week before the day of the critique.
Additionally, students wishing to bump their grade may choose to-resubmit a finished work along with a very brief post-mortem stating what they reworked and why. You will not know your grade before resubmitting. Resubmits can be handed in anytime before or along with the final portfolio submission. Only works presented finished at critiques can be re-submitted for a grade bump.
Plagiarism:
The most common offense under the Academic Code of Conduct is plagiarism which the Code defines as "the presentation of the work of another person as one's own or without proper acknowledgement."
This could be material copied word for word from books, journals, internet sites, professor's course notes, etc. It could be material that is paraphrased but closely resembles the original source. It could be the work of a fellow student, for example, an answer on a quiz, data for a lab report, a paper or assignment completed by another student. It might be a paper purchased through one of the many available sources. Plagiarism does not refer to words alone - it can also refer to copying images, graphs, tables, and ideas. "Presentation" is not limited to written work. It also includes oral presentations, computer assignments and artistic works. Finally, if you translate the work of another person into French or English and do not cite the source, this is also plagiarism.
Schedule
Note: While the class demos follow a 2D print theme, additional short demos can be scheduled in to look at motion graphics and video (ex. After Effects, final Cut, Flash) or web (DreamWeaver, flash, blogs etc.) based on student interest.
Note: More detailed class breakdowns will be posted to the class blog prior to each week’s class.
Week 1 (September 13)
- Introduction to course outline
- Introduction to print lab and studios
- Overview of available technologies (software, hardware)
- How to set up a personal blog demo
- Explanation of first project
Week 2 (September 20)
- Lecture - Digital work methodology and organization
- Demo - Intro to Adobe Photoshop
- First project proposal due
Week 3 (September 27)
- Demo - More photoshop techniques
- Lecture - Contemporary Artists working with the digital
- Individual proposal discussions
Week 4 (October 4)
- Demo - Advanced photoshop techniques
- Lecture - Perception and truth in art and philosophy
Week 5 (October 18)
- 1st critique
- Explanation of 2nd project
Week 6 (October 25)
- Demo - Intro to Adobe Illustrator
- Lecture - A short history of technology and craft
- Proposal for 2nd project due
Week 7 (November 1)
- Artist talk and portfolio presentation
- Demo - Advanced Illustrator techniques
- Individual proposal discussions
Week 8 (November 8)
• Individual mid-term meetings with students
- Work class
Week 9 (November 15)
- 2nd critique
- Explanation of 3rd project
Week 10 (November 22)
- Proposal for 3rd project due
- Demo - Intro to Adobe InDesign
Week 11 (November 29)
• Book binding or Letterpress demo with type or polymer plate (tentative)
Week 12 (December 6)
- Individual Meetings with students
- Work class
Week 13 (December 7)
- Final critique
- Final Portfolios due one week after the end of class
Materials and supplies
Storage Media:
- 45$ CDA lab fee for access to computers - mandatory
- CD/DVD-ROMs (as required for hand-ins)
- Travel storage media (usb flash drives, portable hard drives, online storage space, etc)
- Paper (as needed)
Recommended Bibliography
Colson, Richard. The Fundamentals of Digital Art. Lausanne: AVA Academia, 2007.
Kirkham, Richard L. Theories of Truth :A Critical Introduction. Cambridge, Mass.: MIT Press, 1992.
McLuhan, Marshall, and Michel A. Moos. Media Research :Technology, Art, Communication. Australia: G&B Arts, 1997.
McLuhan, Marshall. The Gutenberg Galaxy :The Making of Typographic Man. New York: New American Library, 1969; 1962.
Paul, Christiane. New Media in the White Cube and Beyond :Curatorial Models for Digital Art. Berkeley: University of California Press, 2008.
St. George, Paul. Sequences :Contemporary Chronophotography and Experimental Digital Art. London; New York: Wallflower, 2009.
Wands, Bruce. Art of the digital Age. New York: Thames and Hudson, 2007.
Fibre Culture Journal http://www.fibreculture.org/ fibreculture is about critical and speculative interventions in the debate and discussions concerning information technology, the policy that concerns it, the new media for(u)ms it supports and its sustainable deployment towards a more equitable Australia. fibreculture is a forum for the exchange of articles, ideas and arguments on Australian IT policy in a broad, cultural context. It is concerned with the philosophy and politics of
:: new media arts
:: information and creative industries
:: national strategies for innovation, research and development
:: education, and
:: media and culture
:: new media arts
:: information and creative industries
:: national strategies for innovation, research and development
:: education, and
:: media and culture
Recommended texts and reference books
Campeau, Sylvain, and Atelier d'estampe Sagamie. Sagamie :L'Imprimé Numérique En Art Contemporain. Trois-Rivières, Québec: Éditions d'art Le Sabord, 2007.
Dayton, Linnea, and Cristen Gillespie. The Photoshop CSCS2 (3, 4 or 5) Wow! Book. Berkeley, CA: Peachpit Press, 2007.
Steuer, Sharon. The Adobe Illustrator CS3 WOW! Book :Tips, Tricks, and Techniques from 100 Top Illustrator Artists. Berkeley, CA: Peachpit Press, 2008.
