For Jennifer: James Turrell

1) http://dropular.net/drop/78404/
2) http://dropular.net/drop/78403/

-- Michael

book structure & typologies

for your reference, thxs / c

for next week (9)

here's what's due for our next meeting: looks heavy, but i'm just being detailed

—CONTENT GATHERING & ALLOCATION

content is divided into 2 main buckets: gather these and divide them per section (see chapters below)
— TEXT: artist statement, research text, self-generated text, quotes from other thinkers, artists etc
— IMAGERY: model pics, artwork pics, documentation & video screen grabs, process images, referential images (from research)

CHAPTERS: STRUCTURE, RYTHM, FLOW, SEQUENCE: CREATE A TOC (table of contents)
— divide your book into 5 chapters (or more, no less than 3) based on the content gathering you did above, ALLOCATE content per chapter
— name each chapter and create a TOC (table of contents): this will create the framework for your narrative: how content flows from one section to another, how you 'map' storytelling to determine sequence and pace.
—you can include sub-chapters per each chapter
—for example: if chapter 1 speaks of a particular piece of artwork, gather all text & images that pertain to that artwork / section
same for the rest.

—bring all past work to class (printouts or pdf files IN CONTENT 'BUCKETS', for instance: all images & pdf's that can belong to chapter 1, chapter 2 etc.
use the nomenclature of your TOC to organize these.

FORMAT: we chose a format for al of you, stick to the chosen one and work off it.
GRIDS: based on this one format EXPLORE THE FULL POTENTIAL OF YOUR GRID. (keep in mind our grid demo as reference and your binding, as it will affcet how much space you leave in your center gutter. note: perfect binding is the easiest one for this and stitching, as they do not "chew up" the gutter like japanese binding does)
— I advise using at least 4 columns for more flexibility
— set type in: one column, two columns, 3 and 4: the idea here is to see how BODY COPY behaves in relation to column widths.
— You will notice some of it does not work on narrow columns and columns that are too wide, set it anyways,
— based on the above scale observations create 2 additional sizes that ACCOMPANY body copy: one smaller (eg: for captions) one bigger (for larger text or callouts)
— now you will find yourselves with 3 main type scales: add weight variations / explorations within the TYPEFACES WE SELECTED. aim here is to see how each face holds in accordance to scale, and what 'voice' can be assigned to each in relation to each typology (see attachment : book & content typologies
— explore the grid for image content as well: also, remember our demo / how diff image scales reflect different types of content

GRIDS / SPREADS / TYPOGRAPHY:
— use the faces we selected and add a new one if specified during your critique
— CREATE 3 VARIATIONS ONE ONE SAME GRID AND SET TYPE & IMAGE TO IT: so, for example: grid 1 is 4 columns with amargin of 1/2" all round,
use the same grid to create alternate versions of itself, so grid 2 could be: 4 columns, 1" margin top & bottom, /14" margin on sides, grid 3 could be: 4" top margin, 1/4 on all rest
— BRING 5 SPREADS FOR EACH GRID VARIATION, 15 total
(remember that each grid variation corresponds to a 'tone of voice' an dis directly related to the contents within that section, so be thoughtful when you come up with these.
—typography: use any point size combination within a spreaad but again, focusing on what these scales 'say' (3 shifts maximum within a spread)
— incorporate image fields

RECAP:
— content gathering & allocation
— TOC: chapter structure
— format: done
—grid: 3 grid variations (margins, gutters etc) within the format of choice
— typography: nail the body copy, add scale shifts for diff typologies (chapter heds, captions, louder / larger text etc). see how your faces work together, test them
— 15 spreads that showcase all of the studies performed above


any questions welcome
looking forward to your beautiful work!

c

publications: bring in samples

dear all,

please bring publications samples to class tuesday. 2 each.
pick a book, magazine, zine etc that you like, we will review these tomorrow and 'deconstruct' their structure.

thank you
c

Hey Carolina,

What was the name of that performance artist who create the imaginary space on the sidewalk, which she guarded?

sample spread for body copy

as you can see this one uses a two column grid, with justified text on one side and rag on the other

due next week

hello all,

hope everything is good
below is what's due for next week, as we kick off our second half of the term
we will begin with these items for the catalog design:

CATALOGUE DESIGN: format, grid, body copy, logo design

FORMAT: 2 OPTIONS
— chose a format for your book (a format is the size: 2 ideas minimum)
— keep in mind printing when you chose this, my suggestion: limit the format to a book that is printable on 11 x 17 sheets, otherwise you get into oversized sheets which becomes more complex and expensive

— GRIDS:
— based on the above formats, present 4 ideas for grids that vary in: number of columns,
margin & gutter size.

— SPREADS / BODY COPY:
— we will begin the catalog design selectng the best suited face & size for body copy
(i.e., the bulk of the book and how it is set)

— generate 10 spreads laying down body copy type with these specifications:
— one typeface and one scale per design ( for example: one spread is set on grid 1, format 1,
with helvetica at 8pt / 12 leading /// another is set on grid 2, format 2, set in univers, 9pt / 13led etc
— use dummy / placeholder text (lorem ipsum)
— black type on white only. no rules, no image boxes, just type filling the entire page.
(see sample spread)

++++++++++++++++

LOGO DESIGN
— develop a logo for your exhibition
— bring in 4 iterations that explore different typographic ideas, i.e. 4 executions on one name. if you haven't decided on names yet, pick your favourite 2 and execute 2 variations per each

ARTIST STATEMENT:
— refine what you have presented so far, bring it in

++++++++++++++++

CONTENT ALLOCATION & STRUCTURE: COLLECT
— start gathering these and separating them into content buckets, i.e. chapters that delineate and present your narrative sequence (how you tell the story) think of 4-5 chapters

text: based on your artist statement, research plus self generated text,
i.e. text that you wrote or will write

imagery: images form your projects: screenshots, renderings, diagrams, documentation pics etc...plus imagery form your research that serves as supporting / inspiration material
structure: format of book, rhythm, sequence, materials (i.e. paper stock, inks, cover materials—eg: fabrics—etc

++++++++++++++++

IN CLASS:
i will do a brief grid demo in class, looking at: body copy, margins, gutters, book typologies & structure

recap: 10 spreads (with format, grid, body copy variations) + logo design + artist statement
(as specified above)

any questions welcome
c

Photos from Mid Term

Howdy, here are all the photos I took from the midterms. http://www.facebook.com/album.php?aid=40384&id=1278399364

Pictures

Hi all! I posted a link to the photos I took. I had to upload them to facebook because there are over 100. Here is the link.

http://www.facebook.com/album.php?aid=2441004&id=6006364&l=52fb24244b

oh! pics please!

for our official & unofficial photographers .. please post pics of our presentation today (and videos where applicable)
thxs / c

Congratulations!

Dear all,

Very impressive work today! Thank you
You all showed great passion and resilience through this tough process, executing work that is unique, thoughtful, relevant and beautiful. it is truly a gift to share this time with you and i look forward to what the rest of the term holds for us. Keep going, and shine!

some projects need a little nudge, nothing that cannot be achieved. We will continue to refine as we go along, and will now move towards the catalogue, poster, invite, logotype & website.

I will post specific on this tomorrow, but if you're so inclined take a look at the syllabus, as it outlines next steps

hope you get some rest
and thank you again for your dedication and continuous collaboration.

c

Reconstruction

Reconstruction from Ed Schofield on Vimeo.

Amazing cinematic architecture from thirdseventh.com

Kahn's Exeter Short Film from Alex Roman on Vimeo.

MIDTERM PRESENTATION

hello all,

this is what's due next week for your midterm presentation: I look forward to your beautiful work.

_ MODEL: your model, with scale references (as in , small people). I expect craftsmanship and attention to detail. Space needs to be situated in context if site-specific (for instance: outdoors)

_ DOCUMENTATION / IMMERSIVE PHOTOGRAPHY (AND VIDEO WHERE APPLICABLE, FOR INSTANCE IN SITE-SPECIFIC DOCUMENTATION OF REAL-TIME SITUATIONS)
documentation of your model that places the viewer 'in the space itself,' —that is, gives me the feeling of being iN the space itself.— Document every angle of the experience, every situation i might encounter moving through the space, how i see the artwork within it, how materials are reflected through the lens and how they contribute to the story etc. Play with the camera and light to unveil space: eg, top view, side view, immersive views, close ups, medium shots, high angle shots, low angle shots etc. I need to see every angle discovered, every aspect of your narrative disclosed. Lighting is a crucial component of this process as it reflects the mood and scale of the space. In the case of site-specific interventions, bring in video & photo documentation.

_ ARTWORK: all your artwork completed and ready for presentation.
if your space IS the artwork (installation) itself then show me every step of the narrative in sequence: eg, what it looks like from afar, what it looks like when i enter it, what do i see when i enter it, what i see when i move through it, how the space transforms etc, I need to feel that i walked through it and saw everything.
- if your space contains artwork, then place the artwork to scale within the model, for example, if you are doing video, place some screenshots of it exactly where they would go (to scale), same with sculptures or any other media you are using.
- bring in each artwork component as individual units; we will review these separately in actual format: for example: if you worked on video: bring the actual video, we will screen it. if you worked with sound, bring the sound piece, we will play it etc. again, a reference of these
—to scale—must be present in the model itself.

based on the above documentation (video / photography) bring in at least 15 shots that illustrate your narrative, in sequence. we will use a projector for each presentation and screen these on class while you present. Images must be well executed and be a clear articulation of your project. They should bring the space to life and speak for themselves.

to recap:
- your model (with figures and artwork to scale)
- your photographic documentation of the space itself (i want to feel what its like to be there and what i would see and in what order)—these are the 15 images mentioned above
- artwork: in actual format and media (videos, sound pieces, sculptures etc)

PRESENTATION, here's what i expect:
- a clear presentation of your idea: what you set out to do, your concept, and how you articulated it in media, form and space
- materials that illustrate and support your idea and its execution (mentioned above).
- what decision making process led you to achieve and execute your work in this manner. why that is relevant.
- class discussion and critique.
- I estimate 20-25 minutes per project.

thank you,
carolina

New studies of figures in space

Here are a few options of figure placement as we discussed in todays class...

my supermodels

hey, is it just me or do my cute models look rather stupid when they are big like this?
It's like I'm trying to build a theme park. Not good!

Family Dynamic

1

2

3


4
5




All of these sculpture pieces are made from wood.

-Christine

cymatics

those of you working with sound,
google cymatics

Christine (Nakashiba) & Simon

Being that you are behind in the process, please make use of this blog for feedback with your peers and myself prior to our next meeting. I am also available via email. Rachelle has been in contact between yesterday and today and we have honed in on one direction; please do the same. I am not interested in fear tactics and i find no pleasure in scolding; i care profoundly about the work. The time is now, live it & commit yourselves to it through your voice & work. As in anything in life: you get what you put in, its really that simple.

thank you & next week

thank you for your postings, ideas & sense of collaboration, this is what it's all about!
"perception requires participation" as the venice biennale banner once read....

for next class: please continue to work on your models & artwork, refining each as per discussed last class. The important thing is that we get a sense of truly "being there" in body and mind.
photograph your models. the camera serves as a sort of "third eye"—without getting too cosmic here—; and allows you to situate yourself as a person to-scale in relation [to the model]. In doing so, it opens up angles of vision which are not accessible to our naked eye. Similarly, experiment with different light modes: focused light, diffused / ambient light, moving light etc...an object will open different sides of itself to light, aka, definition of visibility :-* explore, explore, explore

for those of you doing performance-based work: document like mad! i want every angle explored, every fissure of perception you can think of exposed

DUE:
models / space & artwork narrative EXECUTED in FORM, in sequence. This is where you show us the full scope of your project so that we can inhabit it.

_ models: refined, pay attention to materials but also how it feels like TO BE and MOVE through that space.... what colours, temperatures, densities, sensations come into being...or make me come into being
—artwork: if space is installtion then comments above apply. If artwork is contained within space then EXECUTE each specifically (for instance: photography: I want to see what situations, characters, actions you portray and how lighting and camera angles reveal your narrative. if sculpture: 3d m,odels, either CG / sculpey etc, whichever works best (photograph them). if sound: mpg files. if video, video files with full narrative (can be documentation or original pieces)
_project name: 5 options
— artist statement: one paragraph describing your project. what it is about, what it does and how it does it. keep the tine objective (no "overly flowery" texts, we can place that elsewhere :-)

ALSO, CAN YOU GUYS PLEASE POST PROCESS PICS FROM TUESDAY HERE? I'D LIKE TO SHARE THESE WITH OUR MONDAY STUDIO, WHICH COULD BENEFIT FROM SEEING THE WORK YOU HAVE ACHIEVED SO FAR.

as an overall comment: I am delighted to share time with passionate individuals like yourselves, how you commit yourselves to your work and the way you help each other out— in true spirit of relatedness and criticality—excellence its what its about...let's keep going!

as always, any questions welcome

have a loveley evening
carolina

FOR THE WHITE BOX FOLK :-D

In 1981, artist Richard Serra installs his sculpture Tilted Arc, in Federal Plaza in New York City. It has been commissioned by the Arts-in-Architecture program of the U.S. General Services Administration, which earmarks 0.5 percent of a federal building's cost for artwork. Tilted Arc is a curving wall of raw steel, 120 feet long and 12 feet high, that carves the space of the Federal Plaza in half. Those working in surrounding buildings must circumvent its enormous bulk as they go through the plaza. According to Serra, this is the point, "The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer's movement. Step by step the perception not only of the sculpture but of the entire environment changes."

http://www.pbs.org/wgbh/cultureshock/flashpoints/visualarts/tiltedarc_a.html

Ann Hamilton

Brian, I have no idea if this reference is of use or not, but it made me think of your project a bit.

Ann Hamilton's "Tower"

http://architecturelab.net/2008/05/31/ann-hamilton-tower-by-ann-hamilton-jensen-architects/

a short video here:
http://www.annhamiltonstudio.com/

Once you enter, click the third square from the left on the bottom row for the video clip.

For Jaime & Christina

Ana mendieta, check her out
how her traces are her body...

For Josh & Scott

"Sound as object"

might serve as inspiration, look at link below
(this applies to all, very cool site, peruse at will)

http://www.generatorx.no/

For Brian

Brian,

the Bill Viola piece I was referring to today is called "five angels" Take a look at this link (for pics)
how the bodies traverse the water surface reminds me of your "vortex" & how the water surface serves as a threshold (the ground one, with the ripples)
look at :fire angel, / around minute 3 on the youtube video, the red one
http://www.youtube.com/watch?v=LaQhdOrF-EI&feature=player_embedded

monstrosity.

This is so cool.

This has nothing to do with anyone's project in particular. It is just really fun.

benfry.com/traces

Mindset of ex-cult member

For Ryan

Ryan,
been thinking about your project. as mentioned in our last critique, the strength of your piece will be in evoking a sense of the absent. an artist that comes to mind is maurizio cattelan, take a look at his work. he builds figurative sculptures in either huge scale or reduced scale, alluding to a sense of presence (either exaggerated or diminished). One of your images stayed with me, that of the blindfolded boy with a price tag. perhaps you can create a series of videos in which a still figure is pointing at a limit ( a wall, a frontier etc) and project these in either an enclosed space (alluding to a 'prison-like'—setting (not a jail per se) or a site-specific location.
hope this helps

along the lines of what jaime posted below

food / fruity crystals: otto, this one & the post below might be of inspiration
great site, take a look (valid for all of you)
http://www.new-territories.com/lostinparis.htm