Watercolors

6 Views of Every Day Object

Clamshell

Reduction Printing

Making Marks

Digital Imaging Photoshop

Photoshop

Comments on Rebecca Solnit

When reading A Field Guide to Getting Lost the part that most stood out to me was the quote from Daniel Boone, "I never was lost in the woods in my whole life, though once I was confused for three days." I think that this part stood out to me the most because there are so many different ways that people can interpret being lost. In his case, he doesn't even consider being lost, that when he is lost there is always a way to find your way back. That when you are lost, its really about the exploration of getting out of that situation or letting yourself be lost for a bit in order to naturally come out from being lost.

The Henry Art Gallery

The concepts that were given to me were proportion, proximity, and continuation. At the Henry, I looked at a painting called Fade, done by Ken Kelly in 1992. The painting has about 20 circles all with the same diameter. They are all pink but each shaded differently. The ground is brown with the same tone as the pink in the circles. I think that proximity and continuation can be found in this painting. Proximity can be seen in the way he placed each circle, some of the circles are closer than others, I think that he used this in making his painting more visually appealing. Ken then used continuation in some the the circles individually. In some of them they fade into the background but our mind complete the circle and knows what each circle does without them actually being completed.

Looking at the installation, Panoptos as a whole, I very much enjoyed going. It was interesting to me to first look at the room with all of the paintings hung so closely together, and then going to find the big TV where you could see through the camera. Being in the big room with all of the paintings it was almost hard to focus in on only one painting. I also appreciated the diversity with all of the chosen works to hang up. At first I had no idea where to find the joystick and the screen, I thought that it was interesting the placement of this. I expected this to be closer to the paintings and in a room all by its self. But this was actually in a room with other paintings that had nothing to do with the installation. I was able to play with the camera for a bit, and I also didn't expect it to be so zoomed into the paintings. It was almost like you didn't know what painting you were even looking at. Because it was in such a different part of the gallery, you weren't able to see where the camera was pointed.

I would have liked to see the whole painting through the camera, instead of only seeing cropped portions of the art works. But I think having the TV in a completely different part of the gallery worked well, because it was fascinating to not know exactly know what you're looking at but as you move around the joystick you can kind of put the zoomed in images together.

Figure/ Ground

Found urban letters

Artists researched for figure ground

I looked at a hand full of artist before designing my figure ground project. MC Escher I was already familiar with, but I still took another look at his work. He is very well known for his pieces where he starts with one animal and then takes the negative space and turns it into another animal all with the positive and negative space.
The next artist I looked at was Noma Bar. I was not familiar with her work before this project. She works with negative and positive space in a much more simplistic and cleaner way than MC Escher. I noticed she does a lot with faces. One of her pieces is a gun with the negative space in the trigger a face who's mouth is bleeding. I think all of her works are very creative.
Another artist I researched was Kara Walker. She does mostly silhouettes of people. Each piece is telling a story in a different way. The negative shapes she can make from these silhouettes are very strong and interesting.

Questions from Wednesday Night Screening

1. How can an artist / designer's choice of type influence the concept?
      The artists or designers choice for a type face can be fairly difficult. There are thousands of type to choose from, and the difficult task is to find the type that speaks well with the actual words and whatever else the type is interacting with. Or the type can influence because the type doesn't exactly match the other elements in the piece, influencing the concept in that way.

2. What are some of the differences between art and design? Or between the way artist's and designers talk?
      The main difference that I've noticed is the way artists and designers explain their work. I think that designers are more intentional about every little thing that they do, and have a more set vocabulary when explaining. Artists also have a good vocabulary, but they're work is more about an idea or concept, not necessarily thinking about design principles all the time.

Typographic Possibilities