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Advanced
Digital Imaging
Advanced
Digital Imaging An upper level studio exploring individual visual arts projects
contributing to thesis or dissertation development. Topics in creative
personal expression in imaging, installation, and digital/physical mixed
media practices will be studied drawing from issues raised in class projects.
Advanced studies in high resolution digital photography, gesture drawing,
painting, illustration, montage/collage, assemblage, processing, archival
digital printing, stencil art, and set design/projection lead to an
independent final project and web portfolio. Credits 4 ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: |
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Learning Outcomes: Upon successful completion of the
course students will be able to:
2. develop
art making strategies which merge concept, process and form - encouraging
approaches that are at once inquisitive, analytical, creative, experimental
and articulate. 3. examine
the work of several artists, theoreticians, and institutions who engage in
digital and physical art creation. 4. design
and plan a detailed artist statement document which expounds upon individual
concepts, processes, creative exploration, technical experimentation and
references for the final project. 5. compare,
contrast, describe and critique the strengths and weaknesses of their own
artwork and that of their fellow classmates relating to formal, aesthetic,
and content attributes. 6. successfully articulate informed, philosophically and socially aware ideas relating to art, technology, and culture as demonstrated in class discussions and critiques and in short written reaction papers to the relevant readings and events. |
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Requirements
and Suggestions Evaluation Students must
demonstrate satisfactory achievement of course objectives through fulfillment
of course projects and by contributing to class discussions and critiques. Experiments
I: 9% short studies (3% each x 3): emotion sketches, gesture
drawings, mid-range digital prints = 9
points Completed
works: 30% ( 3 at 10 points each) large high end archival digital
prints = 30 points Experiments
II: 6% short studies (3% each x 2): assemblage, stencil art (or
projection Final
Project 40% = 40 points Event& Reading reaction papers 5% = 5 points Letter grade
equivalents for the course are as follows: A=4.0, 100
points A-=3.67, B+=3.33 B=3.0, B-= 2.67, C+= 2.33, C=2.0 C-= 1.67, D+=1.33,
D=1.0, F=0.0 If you are
concerned about your creative trajectory or your grade at any point during
the semester, please do not hesitate to contact your Instructor and schedule
an appointment during office hours. Participation: you are invited, encouraged, and expected to
engage actively in discussion, reflection and activities. Adherence to
deadlines is expected. It is the individual student's responsibility to keep
track of deadlines and to present the work to the class and instructor on the
specified dates. 15% per day will be subtracted from late assignments. If
a student needs an official excuse, please go to the Student Experience
office 4th floor of Academy Hall, x8022, se@rpi.edu Academic
Honesty Class
Specific Collaboration
and discussion about class projects is actively encouraged, and is in no way
considered cheating. This is a studio course, and personal ownership of
information is not deemed to be appropriate. Original
drawings, images, montage, collage, assemblage, stencil art, projections,
final project art are required except where indicated otherwise. Projects
are expected to reflect personal endeavor. Academic
Integrity Student-teacher
relationships are built on trust. For example, students must trust that
teachers have made appropriate decisions about the structure and content of
the courses they teach, and teachers must trust that the assignments that
students turn in are their own. Acts, which violate this trust, undermine the
educational process. The Rensselaer Handbook of Student Rights and
Responsibilities defines various forms of Academic Dishonesty and you should
make yourself familiar with these. In this class, all assignments that are
turned in for a grade must represent the students own work. In cases where
help was received, or teamwork was allowed, a notation on the assignment
should indicate your collaboration. Submission of any assignment that is in
violation of this policy will result in a penalty of a grade of F given for
failure in the course and also further disciplinary action as outlined in the
Handbook of Student Rights and Responsibilities. Addressing
Academic Dishonesty Intellectual integrity
is critical to the foundation of all academic work. Academic dishonesty,
therefore, is considered a serious matter and will be addressed as such. As
defined in the current Rensselaer Handbook of Student Rights and
Responsibilities, examples of academic dishonesty include, but are not
limited to: academic fraud, collaboration, copying, cribbing, fabrication,
plagiarism, sabotage, and substitution. Additionally, attempts to
commit academic dishonesty, or to assist in the commission or attempt
of such an act, are also violations of the academic dishonesty policy. If
found in violation of the academic dishonesty policy, students may be subject
to two types of penalties. The instructor administers an academic (grade)
penalty of F, and the student may also enter the Institute judicial process
and be subject to such additional sanctions as: warning, probation,
suspension, expulsion, and alternative actions as defined in the current Handbook
of Student Rights and Responsibilities. How to take the
course (in a nutshell): Show up
prepared with all materials and supplies needed to work in studio. Attendance
is mandatory every week. Do the work and the assignments. Do the readings and
come prepared to ask questions. Turn work in on time. Contribute to the
discussions. Check the course website for the latest information about
assignments and activities. Required
Materials An active RCS account A high
capacity (10 gig or more) usb drive or external
hard disk Other materials
on a project basis You will be
making a number of manifestations of your work. The costs vary, but be prepared to incur at least $85 in fabrication/material
costs. Electronic
Communication Email: All
students are expected to have an active electronic mail account, and should
check mail at least four times a week for class information. Some essential
class information is communicated by email only. Work Habits Always back-up
your work frequently; that is, every time you make something you think is
worth keeping. Systems crash when least expected and you could lose all
your work. It is a good idea to make three backups (on different
media), as storage media are sometimes unstable. Always save onto your own
media or into your account as files left on hard drives will be removed. Also, please
keep in mind the highly addictive aspects of working with computers. Many
people lose track of time and later wonder why they have severe back, neck
and eye problems. It is a good idea to take a rest every 15 to 20
minutes. Look up or beyond your computer or, better still, at a long
distance to relax your eyes. Take a walk or stretch. Fatigue can
lead to frustration. Stay in touch with your body's needs. Try not to harm
or deface any equipment in any way or lose files and folders belonging to our
class or other classes. For problems in
the studio please be specific in your email and contact: http://helpdesk.hss.rpi.edu/pl/submit-service-request-ticket-system Please follow
the guidelines for working in each studio very carefully, as you will be held
personally responsible for problems you incur. At all times please keep the
lab clean after each use. Reserve all gear beforehand at http://www.arts.rpi.edu/pl/iear-studios-facilities/equipment-room |
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Project
Assignments & Readings
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Create a series of 7 digital drawings suggesting emotional states using either of the following techniques: digital drawing with stylus or traditional drawing scanned into digital space, or any combination thereof.
Other Examples: Print your best 7
drawings on the Phaser laser printer ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Reading : Gesture Drawing and create a
short reading reaction paper Project: 7 finished gesture drawings printed on 11 x
17 phaser laser cardstock
digital action drawings in action of World-renowned dancer and choreographer Bill T. Jones with Paul Kaiser and Shelley Eshkar http://www.cooper.edu/art/ghostcatching/
We will conduct a series of modeling sessions in studio to help develop these skills further: 8 - 30 second poses = 240 seconds (4 minutes) 8 60 second poses = 480 seconds (8 minutes) 4 3 minute poses = 720 seconds (12 minutes) 3 - 5 minute poses = 900 seconds (15 minutes) We will have a series of 4 landscape studies = 2 at 30 seconds, 2 at 3 minutes; 60 + 360 seconds (7 minutes) And 4 object sketches = 2 at 30 seconds, 2 at 3 minutes; 60 + 360 seconds (7 minutes) Pick your best 7
and print them on the Phaser printer paper 11 x
17 Montage,
collage, drawings or photographic works
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Montage,
collage, drawings or photographic works You can use any of the themes from the topics list, or from your own set of concerns and work them into highly developed, finished large scale works using any using any technique of montage, collage, drawings or photographic works or combinations thereof PRINTING TO OUR EPSON 98,000 High end printer: ::::::::::::::::::::::::::::::::::: Processing: Applets: Creates a graph of
the pages for a specified URL: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Assemblage: Assemblage: a sculptural technique of organizing or
composing into a unified whole a group of unrelated and often fragmentary or
discarded objects. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Stencil Art: Hand Techniques Full-Color-Stencil-Art-with-Halftoning: All work must be in exact and
proper format before laser cutting: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Projection:
Reading: :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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Your inspirations, art historical referencing,
philosophical influences, theoretical background, and technical documentation
will be articulated in an artist statement properly cited and
footnoted in The
Chicago Manual of Style ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Web Portfolio & Documentation :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: |
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