Jan. 18

Discuss- Overview of the course

* the creative process, the importance of journal keeping, studio practice


What is Digital Imaging?

from SIGGRAPH Art Show to Tokyo Plastic to Brown to Text Arc to GameArt, media interventions, and beyond

Look at previous work (not a critique, just a point of reference to knowing you and your strengths)




The Temple of Art









(to be covered in a future lesson)




The Golden Section:

interrelationship and harmonic divisibility


Optical Illusions.htm

* perception/vision/allegory/context/illusion

* The observer, the observed, the process of observation



Bit Depth

File Formats
Basic Graphics File Formats


Graphics File Formats



Understanding Digital Color





Short Study 1 –

Observer or Observed: Micro/Marco Surveillance

(Due week 2, Jan. 25)

Using an image from either global surveillance satellites or internal visualizations of the physical body, create a visual statement about a specific geographic or physical area that has personal significance to you.


Use scale- take two different photographs (for instance one of a satellite image and one of you or your house or residence). Scale them unusually so that new meanings emerge which challenge our perception of the accepted world. Color - selectively recolor specific aspects of this image for emphasis.


(Due Jan 22)

* Jeremy Bentham The Panopticon

* Hurlbert, Alan. The Design Concept, pgs. 10-15

create a short reaction paper


Jan 22

Discuss Readings

Lecture: Observer or Observed?: Micro/Macro Surveillance


“Power of Ten”- Charles and Ray Eames

A Bronx Ballet Turns Violent

Visual Perception

The Senses (as commonly known)

Artists: IAA, Daniela Kostova, Olivia Robinson, Stanza


Studio & Techniques: low res/high res, scan basics, scan tips, image resolution, composition, scale, compositing, advanced cutting and pasting, feathering, quick mask, scale, color depth, layers, channels, color theory, creating realistic cast shadows, Layers Magazine


Jan 25 Critiques


Short Study 2 –

Looking/Seeing: Veracity in Telling a Story: Inclusion/Exclusion in Photo-journalism

(Due week 4, Feb. 8)

(awareness of one’s “natural” environment)

After studying various types of photojournalistic approaches in making a visual statement, create a short photographic essay about a real person, event, or occurrence. Without using any special visual effects (except color correction, red eye reduction or defocusing), use cropping, experimental composition, and other techniques of inclusion and exclusion to illustrate at least 24 ways of looking at the same "real" visual information. Show all 24 images and pick 5 of the best images to illustrate your story. Print these 5 images on the high end Epson 10,000 printer. (Text can be used as captions if desired.



(due Jan 29)

* Sturken, Marita & Cartwright, Lisa. Practices of Looking: an Introduction to Visual Culture, pgs. 10-44

* “Troubles in Truthsville”. A Conversation among Ken Feingold, Coco Fusco, and Steve Gallagher”

create a short reaction paper


Jan 29

Discuss Readings

Lecture: Looking/Seeing: Veracity in Telling a Story: Inclusion/Exclusion in Photo-journalism




“Un Chien Delicieux” - Ken Feingold

Tom Chambers






Feb 1 & 5

Studio & Techniques:

overview of the digital camera

Canon EOS D30 Pocket Guide


Photographic Techniques:

digital photographic techniques, the gaze, framing the picture, camera angles,
printing to the Epson 10,000 archival printer,  
gamma correction

Depth of Field Control


Feb 8 Critiques 



Short Study 3 –

The Restoration of Memory: Your Personal Visual History

(Due week 6, Feb. 22)

(the space of memory)

Part one: expert photo-retouching of an old family photograph.

Part two: photomontage a new family portrait which defies time and "truth". 



(due Feb 12)

* Rovira, Jim. Baudrillard and Hollywood:subverting the mechanism of control and

The Matrix, pgs. 1-3.

* Baudrillard, Jean. Simulacra and Simulation. Ann Arbor, The University of Michigan Press, 1994, (excerpts)

create a short reaction paper



Feb 12

Discuss Readings

Lecture: The Restoration of Memory: Your Personal Visual History



Adam Berliner’s film “Nobodys Business” (1996)


Nancy Burson



Feb 15 & 20 (NO CLASS ON FEB 19 (Monday classes meet on Tuesday this week)

Studio & Techniques: advanced scanning, filtering, blending, compositing, printing, traditional photomontage & digital photomontage techniques, cutting, pasting, feathering edges, layers, rubber stamp, dust and scratches filter, healing brush, colorizing, composting, techniques of lighting and shadow, composition and posing conventions of different eras.
Printing, file prep, show various kinds of output from the same image

Photo retouching
Advanced Selection techniques:

Photoshop techniques:


Duotone, Tritone, Quadtone


Aged image technique:


Feb 22 Critiques


Short Study 4 -

Fix it: What is Important to you: Digital Photographic Panorama

(Due week 9, March 15)

Working collaboratively in groups of 3, tell a story or narrative through the use of various photographic and/or graphic elements, object scans, textures, etc. which work together to give visual form to your ideas. Text can be used, either incorporated as part of the image or as captions. Print your team's work on the large format Epson 10,000 printer minimum size 24 x 40 inches or create a virtual panorama: either create a quicktime VR panorama, a polar panorama, a cyclorama, or encompassing diorama



(Due Feb 26)

Crary, Jonathan. Techniques of the Observer

create a short reaction paper




Bottom of FormFunction: noun
Etymology: pan- + Greek horama sight, from horan to see -- more 1. An unbroken view of an entire surrounding area.

2. A comprehensive presentation; a survey: a panorama of American literature.

3. A picture or series of pictures representing a continuous scene, often exhibited a part at a time by being unrolled and passed before the spectator.

4. A mental vision of a series of events.


Some examples of panoramas:
Mount Everest 360:



* how images can be used to effectively tell stories of all kinds?

* consider options for exhibiting narratives - long thin scroll? Hung vertically? Or horizontally? Rectangle? Circle?

* think about composition/image/form and color working together (remember the temple of art)

* Thoughtfully select and edit the group’s images

* Ethics in creativity -creative integrity -the life and times of Leni Riefenstahl. If you can imagine it, it could happen.


Elements of Good Collaboration:

Elements of good collaboration: group discussion, mutual respect, listening, responsibility, concrete schedule and time management, creative responsibility.

See: My Tips for Successful Collaboration




Robert & Shana ParkeHarrison



Margi Geerlinks

Annette Weintraub

Anthony Goicolea

Martina Lopez

David Hockney  Hockney: Pearblossom Highway video (3:12)



Table Top Photography & Imaginary Worlds:

James Casebere

James Casebere


Narratives in Painting and Photographic Imaging:

Hieronymous Bosch Flemish painter 1450-1516


Innovative panoramic and semi-immersive ideas:

Jeffrey Shaw: the Legible City:





Photomontage: the technique of combining in a single composition pictorial elements from various sources, as parts of different photographs or fragments of printing, either to give the illusion that the elements belonged together originally or to allow each element to retain its separate identity as a means of adding interest or meaning to the composition.


Collage: a technique of composing a work of art by pasting on a single surface various materials not normally associated with one another, as newspaper clippings, parts of photographs, theater tickets, and fragments of an envelope.



a sculptural technique of organizing or composing into a unified whole a group of unrelated and often fragmentary or discarded objects.



A Short History of Photomontage/Collage

John Heartfield

Hannah Hoch

Wiki Hoch


Photomontage tutorials:



March 1 & then (Off for Spring Break, March 5 thru 9, enjoy)


Technique review: perfecting images for panorama: blending, stitching, advanced photo compositing and overlap, and dynamic composition, montage/collage digitally and traditionally, panorama, text, high end printing


Experimenting with Panorama Tools:

Photoshop Photomerge:

Quicktime VR:

Polar Panorama

Panorama Tools:


Other: Stereo imaging


March 12

Studio work


March 15 Critiques 


Short Study 5 –

Imaginary Space: Level Design

(Due week 11, March 26)

(imaginary space)

Create 4 original, sequential level designs or maps which tell a story by creating a background or landscape upon which a game or some could take place. Pay careful attention to color, lighting, texture, symbolism, allegory. You can use any digital process or application as well as scanned objects such as crumpled paper, sticks, leaves, etc to create an imaginary landscape.



(Due March 19)
Postman, Neil. Technopoly: The Surrender of Culture to Technology.

create a short reaction paper



March 19

Discuss Readings

Lecture: Imaginary Space: Level Design

Level Design:
* Adams and Rollings The Level Design Process


* mise en scene in videogames


March 22

Studio & Techniques: Flash, digital & traditional painting/drawing, advanced scanning

Flash sites :

Feng Zhu Design


March 26 Critiques


Short Study 6 -

Flash Stories

(Due week 13, Monday April 9)

We have been invited to create an international project in conjunction with a class of students at the University of Zhaoqing in China.


Create an original personal story based on your life’s experiences, events, or pathways. You may wish to create an interactive digital map of your personal history. Create a flash animation of 1 to 2 minutes in length, suitable for posting to the web. Work with movement, timing, juxtaposition, sound, composition, color, etc. to tell your "story". The students in China will create flash animations of their stories as well. Together we will create an online gallery of all the stories.

Consider what it is you wish to say, storyboard it, develop a style, and go forth.



Amazing Flash Websites from Jeremy: - site for a design firm. Very rich content- kind of intense, definitely at the far end of the Flashiness Scale if you know what I mean. - Flash community portal. The majority of the submissions to the site exhibit a sort of Everyman's Flash. - ancient (though still active) Flash cartoon site. The artist is a member of the first wave of Flash animators; his work is low-keyframe, with rudimentary interactivity. - an online magazine of Flash poems- literary poems augmented by Flash content. Visionary stuff. - warm, mellow games based on simple interactive principles. - I hardly know what it is, but it's cool. Students are encouraged to check out the animation "drum machine". (The 3D animation in tokyoplastic is generated through an application known as Swift3D; though cool, 3D is really the least practical animation format in Flash.) - stick figures fighting (hosted on Stick Figure Death Theatre). - an extremely, extremely violent but well done animation project made entirely by stuntpeople who double as animators. (I'm not kidding, it gets really sickeningly violent.)

Samorost- two interactive puzzle stories that use photographic elements to create an immersive environment. - Self-explanatory; a self-sustaining Flash phenomenon, whose success relies mostly on its cult status.


And finally, here's a website that describes in detail the visual aesthetic of Flash media, brought on by its accessibility to absolute beginners: .




Guto Nóbrega Institutional affiliation: UFRJ - Universidade Federal do Rio de Janeiro

Title: cache memory

His main interests are interactivity and interface as a way to think about new realities constructed with the help of digital technologies and how digital body can converge as a hybrid with our physical body and space.

This is a work about time and memory. The memory recovered by the photos and the memory of the computer that allows interaction with the digital image on the web site. Cache memory shows that the past, the present and the future cam be by one click of your fingers, collapsed by the interface of new media.


Circle of Storytellers:


Lesson: Movement


persistence of vision

Still Movement


See some of the other Chinese students’ previous works at:

See their school at:

Some Information about China
Film Analysis Guide


March 29 & April 2:

Studio & Technique Intensive: Flash animation including: cinema techniques, mise-en-scene, movement, timing, juxtaposition, sound, composition, color


Mastering Flash:

* Do the basic tutorial in the application, then:

 * The Tool Kit in Flash

 * Layer & Animation explained in Flash

 * Designing and Animating Characters in Flash 8

 * Easing in and out

 * Rotoscoping in Flash

 * Lots of Flash Tutorials

 * Some Flash games
 * Animating Your Adobe Photoshop Files in Flash 8


April 5: Studio

April 9: Critique


Final Project:

Activating public spaces with digital images, installations, and art delivery systems


Senie, Harriet F. & Webster, Sally, eds. Critical Issues in Public Art: Content, Context, and Controversy

*****create a short reaction paper


Senie, Harriet F. & Webster, Sally, eds. Critical Issues in Public Art: Phillips Temporality and Public Art.

*****create a short reaction paper

(due April 12)


April 12

Discuss Readings

Lecture: Activating public spaces with digital images, installations, and art delivery systems

* final project ideas

* Web space/Physical space

* ideographs

* what is an artist statement?

* art delivery systems,

* public art

* printed digital billboards & murals



Image prep for the net, basic html & Dreamweaver



Mariko Mori


Martin Puryear

Puryear: on the plaza (7:44)


Krzystof Wodiczko, film

the public art space manipulator and installation artist


see film on Claus Oldenberg and Coosje van Bruggen
also see



Artist Statement & Digital Ideograph –

Due week 14, April 16

The artist statement and digital ideograph begin the development of your individual ideas and starts the trajectory towards the final project. It utilizes the techniques, theory and history learned in class and in individual research. It is, in essence, a digital ideograph of your art delivery system in action, virtually. Create a web page that illuminates your idea and its location in terms of what you want to reconstruct in it. Photograph the exact location and then digitally create your ideas within it. You are required to articulate your final project in an artist statement of from one to two paragraphs whereby your concept, methodology and at least 5 bibliographic references/influences are stated.


Final Project pre-REVIEWS:

April 19



On-site Critiques

 The actual project manifested as an original (billboard, large poster series, drive by car art, aerial art, photo projection, data projection, etc.) art system device that carries your message to those who may not have the opportunity to see your work inside a normal gallery environment. Your work must be realized physically and you must photograph the work in the site for inclusion in your final project CD web site file.




Due week 16, April 30 LAST CLASS

* Your complete CD containing:

- all perfected short study projects

- stand alone (all elements contained within) website of final project containing:

artist statement

ideation and

final realization


Instructions for CD preparation:


* one folder entitled:

Your Name_Final

with: a well designed web site which includes your:

- Artist statement

- at least 5 references

- ideation images

- realization images


*and another folder entitled:

Your Name Short Studies

with all corrected, complete and improved short studies for final grading

Additionally all journals are due this day.