art363

Bonus Post 4

This article, is called 35 great examples of parallax scrolling websites. I looked at this website because we worked on scrolling websites. My favorite ones are The Walking Dead website and the Nintendo Mario Kart History website.

By |December 18th, 2013|art363, _students|0 Comments|

Bonus Post 3

This article, Sustainable Web Design, is about a number of industries are trying to reduce their carbon footprints and energy use by using mobile-ready design , and increasingly sophisticated web ROI metrics to pursue faster and lighter sites. What I learned reading the article was that the internet’s carbon footprint was about  830 million tons of CO2 annually and the amount will double by 2020.

By |December 17th, 2013|art363, _students|0 Comments|

Bonus Post 2

This article, The 11 Phases of a Web Developer’s Career (As Illustrated by Memes), is article that demonstrates what a web designer goes through during their career with the help of internet memes (a humorous image, video, piece of text, etc. that is copied and spread rapidly by Internet users). I am at stage one (Noob).

By |December 17th, 2013|art363, _students|0 Comments|

Final Post

Assignment 4

Assignment 5

Assignment 6

Assignment 8

Assignment 9

Assignment 10

Assignment 12

 

Class 12: Art and Commerce

“Creating your own blog is about as easy as creating your own urine, and you’re about as likely to find someone else interested in it.” – Lore Sjöberg

Discussion:
Lets delve into Art and Commerce, the marketplace, the allure of mammon.  Lets talk about about the influence of commerce upon art in general but about how digital art and design in specific is being affected by the marketplace.

The idea that money, patronage and trade automatically corrupts the wells of imagination is a pious fiction, believed by some utopian lefties and a few people of genius such as (William) Blake but flatly contradicted by history itself” – Robert Hughes.

Classwork:

 

 

 

 

 

  1. Please post an entry to the blog that compares 4 (FOUR) talent placement agency’s websites.
  2. Make a short animation using this jquery plugin
    • introduce yourself (Hi I am a designer, name is DUDE.)
    • Explain the kind of work you do – your goals and what you aspire to.
    • Show some work.
  3. The Extended Homework Assignment you have all been waiting for! Continue your projects – make sure you speak with me about your project or else everything may go horribly awry.

Related: Usability in Architecture
I.M. Pei on why the Louvre pyramid isn’t a pyramid, the number of bathrooms and what it means when a Museum “works”.

http://itunes.open.ac.uk/r/g4DaF

Something to make because you have so much free time:
Maybe you should make your own online museum?
The Museum of Broken Relationships

nice.
real nice.
not so nice. but informative.
a general history of general computing:

Class 11: Presence

“You cannot not communicate.” — Paul Watzlawik

Discussion: Presence

How can something digital, something distant, something that is generated by zeroes and ones be present?  What might that mean?

Facebook Infographic from Jean-Jacques Parys on Vimeo.

Trillions from MAYAnMAYA on Vimeo.

 

Quite simply, Michael Moschen has revolutionized juggling, refining it into an art and a bit of a science. With a few flying balls and well-chosen props he will completely re-wire your notions of the physically possible.

Watch

Tell me, what genre of tool, or game, or thing, is this?

  1. Please post an entry in your blog: critique someone else’s project from a previous week.
  2. Design: Make a design which utilizes isotope.  It doesn’t need to be functional.
  3. Isotope - make an isotope gallery of your work.  Or other people’s work.
  4. Please note: prepare all your projects for grading, it will be happening sooner than you think – make sure everything is available online.
  5. REMEMBER: No CLASS NEXT WEEK… BUT, you WILL have POSTED HOMEWORK, TUTORIALS and other misery.

The Inner History of Devices

Sherry Turkle – “We love with the objects we think with, we think with the objects we love.”

“Technology in every form raises the question of human purposes and asks what those purposes are, but this only occurs if we come to technology with prepared minds and open hearts.” – Sherry Turkle
http://mitworld.mit.edu/video/634
(start at the 3 minute mark)

Turkle reads snippets from her three books, which, as an ensemble, tell the story of the intellectual and emotional links between objects and ourselves. Technology, she says, serves as a Rorschach for personal, political and social concerns, carrying ideas, expressing individual differences in style. It also “acts as a foil we use to figure out what it means to be human,” crystallizing memory and identity and provoking new thought. For instance, kids have at least seven radically different styles of using Legos, she says, which allow us “to see who the child is.” “For too long we have stressed … that technology has affordances that constrain its use. I take it from the other side: how do different personalities, cognitive styles and desires take a technology and turn it into what that person wants to know and express.”

Class 10: Mutability

“As you make a prototype, assume you are right and everyone else is wrong. When you share your prototype, assume you are wrong and everyone else is right.” – Diego Rodriguez

Discussion: Mutability
Painting has long been considered the most plastic of the arts.  Now its been usurped by all things digital.
Mutability is about both a capability and willingness to morph one’s thoughts and the reality of your art.  Mutability asks, if any shape is possible, then what shape is most desirable?

Example, how has Philip Johnson anticipated the changing light with his Glass House?

In Class:

we MUST try this: http://lazylinepainter.info/
and lets also do this: super scrollorama.

Artist and computer scientist Jonathan Harris makes online art that captures the world’s expression — and gives us a glimpse of the soul of the Internet.

Watch

  1. Please post an entry in your blog.
  2. Everyone, please make your own SUPER Scrollorama! about winter break.

Skin, Materials, Tooling

Related: Installation /  Video / Sound


What are some of the boundaries of art?
A mix of video, sound, computer
, and more recently

Class 9: Infinite Library

“In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless…” – Borges, “On Exactitude in Science”

The Library of Babel

Discussion:
Infinite Library, Recursion, The map and the territory

 

 

 

Choose one or two of these physics games and play with them for a bit.  Do you like this kind of game?  If you were going to make one, how would it be different?

NEXT WEEK:

Prepare for BORINGNESS like you have never known!

IN CLASS:

 

 

 

  1. Please take the first three classes/tutorials here: http://www.codecademy.com/courses/web-beginner-en-HZA3b/0/1?curriculum_id=50579fb998b470000202dc8b (and yes, sign in and create an account.  sheesh.)
  2. Revise your video game as much as possible in the manner discussed in class.
  3. Make a web design – no need to code it – which is an eCommerce site.  Consider doing it about something you know a lot about.  Include a home and internal page.
  4. Please post an entry on the blog of at least three sentences focusing on

Unrelated But Interesting: Installation /  Performance

Mierle Ukeles
What are some of the boundaries of art?
The official Artist in Residence at the Freshkill landfill for the sanitation department of New York.

How can twitter change the world?

Class 8: Kitsch

Never tell people how to do things. Tell them what to do and they will surprise you with their ingenuity.George Smith Patton

 

 

We will be working on this tutorial in class tonight:

 

 

 

Discussion: Kitsch

I consider confronting low brow sentimentality to be one of the more serious artistic challenges of the age, and also, notcoincidentally, a prime argument for a deep knowledge of art history. What are some of the characteristics of kitsch, and how should it be confronted, supported, embraced, identified, avoided or consumed? Discuss sequential art, pop art and their historic connection with kitsch, is the medium the message?

“In the French version of Hermann Broch’s celebrated essay, the word ‘kitsch’ is translated as ‘junk art’ (art de pacotille). A misinterpretation, for Broch demonstrates that kitsch is something other than simply a work in poor taste. There is a kitsch attitude. Kitsch behavior. The kitsch-man’s (Kitschmensc) need for kitsch: it is the need to gaze into the mirror of the beautifying lie and to be moved to tears of gratification at one’s own reflection. For Broch, kitsch is historically bound to the sentimental romanticism of the nineteenth century. Because in Germany and Central Europe the nineteenth century was far more romantic (and far less realistic) than elsewhere, it was there that kitsch flowered to excess, it was there that the word ‘kitsch’ was born, there that it is still in common use. In Prague, we saw kitsch as art’s prime enemy. Not in France. For the French, the opposite of real art is entertainment. The opposite of serious art is light, minor art. But for my part, I never minded Agatha Christie’s detective novels. Whereas Tchaikovsky, Rachmaninoff, Horowitz at the piano, the big Hollywood films like Kramer vs. Kramer, Doctor Zhivago (poor Pasternak!)—those I detest, deeply, sincerely. And I am more and more irritated by the kitsch spirit in certain works whose form pretends to modernism. (I add: Nietzsche’s hatred for Victor Hugo’s ‘pretty words’ and ‘ceremonial dress’ was a disgust for kitsch avant la lettre” (135-36).” – Milan Kundera

What are some of the characteristics of sentimental art, or kitsch and how should it be confronted, embraced, avoided or consumed?

Possible solutions:
Narrative, typography, shock, micromacro, Content based, Formal, Ironic, Poetic, Activist/ agenda driven.

  1. Spend some time playing with gamesalad and seeing if you can’t build something fun with it.
  2. Download a TON of gamesalad templates.
  3. Download a few really good templates.
  4. Make a game.  Make it DISTINCTIVELY YOU.

Any survey of how electronic art has affected our culture must confront some of the questions Walter Benjamin put forth.

Below are two simplistic and I think not wholly inadequate summaries of Walter Benjamin’s work and life. The second is done by students your age, so it may be put in a way you can engage. Following these videos is the two paragraphs I would like you to read. If it makes your head explode just clean up the mess and we will chat about it in class.

“Mechanical reproduction of art changes the reaction of the masses toward art. The reactionary attitude toward a Picasso painting changes into the progressive reaction toward a Chaplin movie. The progressive reaction is characterized by the direct, intimate fusion of visual and emotional enjoyment with the orientation of the expert. Such fusion is of great social significance. The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed, and the truly new is criticized with aversion. With regard to the screen, the critical and the receptive attitudes of the public coincide. The decisive reason for this is that individual reactions are predetermined by the mass audience response they are about to produce, and this is nowhere more pronounced than in the film. The moment these responses become manifest they control each other. Again, the comparison with painting is fruitful. A painting has always had an excellent chance to be viewed by one person or by a few. The simultaneous contemplation of paintings by a large public, such as developed in the nineteenth century, is an early symptom of the crisis of painting, a crisis which was by no means occasioned exclusively by photography but rather in a relatively independent manner by the appeal of art works to the masses.

Painting simply is in no position to present an object for simultaneous collective experience, as it was possible for architecture at all times, for the epic poem in the past, and for the movie today. Although this circumstance in itself should not lead one to conclusions about the social role of painting, it does constitute a serious threat as soon as painting, under special conditions and, as it were, against its nature, is confronted directly by the masses. In the churches and monasteries of the Middle Ages and at the princely courts up to the end of the eighteenth century, a collective reception of paintings did not occur simultaneously, but by graduated and hierarchized mediation. The change that has come about is an expression of the particular conflict in which painting was implicated by the mechanical reproducibility of paintings. Although paintings began to be publicly exhibited in galleries and salons, there was no way for the masses to organize and control themselves in their reception. Thus the same public which responds in a progressive manner toward a grotesque film is bound to respond in a reactionary manner to surrealism.”

Read the rest: http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

Paula Scher: done in a second, after many years

Class 7: Medium, Rare

“All things are difficult before they are easy.” – Dr. Thomas Fuller

————————-

 

“normal” flow versus non-normal, I guess.  An exercise for the beginning of class:

<div style="width:200px;margin:5px;border:solid thin black;">
This is the first div. It's 200 pixels wide with a 5px margin around it.
</div>

<div style="width:390px;height:20px;margin:10;border:solid thin black;">
This is a wider div.
</div>

<div style="width:400px;margin:15px;border:solid thin black;">
This is a div that's a bit wider than the second one.
</div>

 

————————-

 

Discussion:
“The Medium is the Message” How does this medium change the process of doing art? How is it different for you, what are some of the differences that matter?

“The Medium is the Message” (more)

Paola Antonelli

Tim Brown (Design Thinking, Ideo)
Tim Brown asks, where do good ideas come from?  What is inspiration, what does empathy offer us?

“Not so long ago, Tim Brown recounts, designers belonged to a “priesthood.” Given an assignment, a designer would disappear into a back room, “bring the result out under a black sheet and present it to the client.” Brown and his colleagues at IDEO, the company that brought us the first Apple Macintosh mouse, couldn’t have traveled farther from this notion.

At IDEO, a “design thinker” must not only be intensely collaborative, but “empathic, as well as have a craft to making things real in the world.” Since design flavors virtually all of our experiences, from products to services to spaces, a design thinker must explore a “landscape of innovation” that has to do with people, their needs, technology and business. Brown dips into three central “buckets” in the process of creating a new design: inspiration, ideation and implementation.”

Tim Brown on Change By Design from IDEO on Vimeo.

Also:

 

  1. Please post an entry in your blog.  Take a screenshot of your favorite site and explain why – in a full paragraph at least – you like it so much.
  2. Revise your eCard, animate it, make it wiggle and shine.  Finish it for next week.
  3. We will meet at 10 PM ONLINE next sunday night for a 1 hour class that focuses on gamesalad.  Make sure you are ready.

Street Art: D*Face

Critical Cultural Concept: Community,
Collaborative art
As Social Media in the form of facebook and twitter, for instance, change the face of how we interact with the web, how might that change art?
http://www.codezebra.net/
http://www.google.com/help/maps/favoriteplaces/

Class 4: Science, Engineering & Art

“It’s all about one thing: creative problem-solving to get the story out.”—Robert Greenberg, R/GA

Nobody Beats The Drum – Grindin’ from Nobody Beats The Drum on Vimeo.

About not being so good.


Discussion: Often I make the pretense of being opening minded to promote discussion, but today I would like to share my belief and begin our conversation there:

I don’t feel the scientific method is different in whole cloth from an interactive designer’s user-oriented design process, nor do I believe that the material constraints of an engineer’s formula differ entirely from the aesthetic constraints a mature painter adopts when they possess a style. I contend the artificial distinctions between the engineer, scientist and artist are antiquated notions more suited to industrial thinking than to the service economy the world is beginning to embrace. Was Da Vinci a scientist, painter, artist, businessman, inventor… or are those distinctions really useful? Are they really so different? Isn’t it more interesting to call him an observationalist or an explorer? What are you? Are you JUST an artist? Aren’t you a whole lot more? Maybe a musician, a friend, a brother or sister, a lego savant, a dabbler, a student? What we find over and over again is that great artists are also great deal makers, often idea-hungry news hounds, fabulous communicators, engineers, and scientists.

 

Introducing: Biomemetics, Ross Lovegrove
Please watch: http://www.ted.com/talks/ross_lovegrove_shares_organic_designs.html


Known as “Captain Organic,” Ross Lovegrove embraces nature as the inspiration for his “fat-free” design. Each object he creates — be it bottle, chair, staircase or car — is reduced to its essential elements. His pieces offer minimal forms of maximum beauty. “Lovegrove’s specialty is in qualifying the present moment in design, rather than restyling the past, by employing new technologies with new materials to define new shapes.” – New York Times

 

HOMEWORK

  1. Make revisions on the hotel homepage design, design an internal showing the various rooms.
  2. Find a website that you love with multimedia, animations or some sort of immersive vivid media experience. write a paragraph on why you love it and link to it on the blog.
    Every week from now till the end of class you will need to write a short paragraph your blog entry.
  3. Using the royal slider, make an interactive animation about your feelings for “winter”. There must be at least 5 slides. Download it here.

Learn more: Biomimicry

fun? But does it float?
Another reason to play video games:

By |September 28th, 2013|art363, Classes, Illustrator, Industrial Design, Lovegrove|Comments Off|

Class 3: Unfinalizability

 

“…that strange new zone between medium and message. That zone we call the interface.” —Steven Johnson, 1997

Goals/Discussion: Unfinalizability
“There is neither a first word nor a last word and there is no limits to the dialogic context” – Bakhtin

Core issues in the emergence of modern and post modern art has been concerns of transience, theater, the degenerate and the environment.  The definition of art has shattered the confines of museums and asked questions about the archetypal inviolate, permanent piece of art which can be priced, commodified and placed eternally upon a wall by a collector.  Digital art additionally asks what if the artwork were interactive, cooperative, physically insubstantial, non-analog.  Digital brings many things to the fore, but chief among them in my experience is mutability, the ease, urge, willingness and encouragement to change.

The marshmallow test

Oh, The Temptation from Steve V on Vimeo.


Play one of the games below.  Tell me, what are your thoughts about these games, are they successful or not?  What about them captivates you, if anything.  Try to differentiate between the gameplay and the look and the feel.

Artistic or Critical Concept: Hypertext
Lets read a portion of Vanevar Bush’s “As we may think” -
http://www.theatlantic.com/doc/194507/bush

HOMEWORK

  1. Please post an entry in your blog about the Reading below.  Can you imagine being an artist with 1000 true fans?  How would you contact them?
  2. HOMEWORK: Design a GORGEOUS homepage for a real hotel in washington DC, make sure to include a booking mask, a specials/packages promotion and a clear call to action.

1000 True Fans
This post by Kevin Kelly became an almost overnight sensation because it illustrated, clearly, what the real practical benefit of a “niche” audience might be. The consequences this may have on your art is tremendous.

“Find 1,000 True Fans. While some artists have discovered this path without calling it that, I think it is worth trying to formalize. The gist of 1,000 True Fans can be stated simply: A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author – in other words, anyone producing works of art – needs to acquire only 1,000 True Fans to make a living. A True Fan is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can’t wait till you issue your next work. They are true fans.”

” Young artists starting out in this digitally mediated world have another path other than stardom, a path made possible by the very technology that creates the long tail. Instead of trying to reach the narrow and unlikely peaks of platinum hits, bestseller blockbusters, and celebrity status, they can aim for direct connection with 1,000 True Fans.

It’s a much saner destination to hope for.

You make a living instead of a fortune. You are surrounded not by fad and fashionable infatuation, but by True Fans. And you are much more likely to actually arrive there.

A few caveats.
This formula – one thousand direct True Fans –  is crafted for one person, the solo artist. What happens in a duet, or quartet, or movie crew? Obviously, you’ll need more fans. But the additional fans you’ll need are in direct geometric proportion to the increase of your creative group.  In other words, if you increase your group size by 33%, you need add only 33% more fans. This linear growth is in contrast to the exponential growth by which many things in the digital domain inflate. I would not be surprise to find that the value of your True Fans network follows the standard network effects rule, and increases as the square of the number of Fans. As your True Fans connect with each other, they will more readily increase their average spending on your works. So while increasing the numbers of artists involved in creation increases the number of True Fans needed, the increase does not explode, but rises gently and in proportion.

A more important caution: Not every artist is cut out, or willing, to be a nurturer of fans.  Many musicians just want to play music, or photographers just want to shoot, or painters paint, and they temperamentally don’t want to deal with fans, especially True Fans. For these creatives, they need a mediator, a manager, a handler, an agent, a galleryist — someone to manage their fans.  Nonetheless, they can still aim for the same middle destination of 1,000 True Fans. They are just working in a duet.

Third distinction. Direct fans are best. The number of True Fans needed to make a living indirectly inflates fast, but not infinitely. Take blogging as an example. Because fan support for a blogger routes through advertising clicks (except in the occasional tip-jar), more fans are needed for a blogger to make a living. But while this moves the destination towards the left on the long tail curve, it is still far short of blockbuster territory. Same is true in book publishing. When you have corporations involved in taking the majority of the revenue for your work, then it takes many times more True Fans to support you. To the degree an author cultivates direct contact with his/her fans, the smaller the number needed. Lastly, the actual number may vary depending on the media. Maybe it is 500 True Fans for a painter and 5,000 True Fans for a videomaker. The numbers must surely vary around the world. But in fact the actual number is not critical, because it cannot be determined except by attempting it. Once you are in that mode, the actual number will become evident. That will be the True Fan number that works for you. My formula may be off by an order of magnitude, but even so, its far less than a million.”

http://www.kk.org/thetechnium/archives/2008/03/1000_true_fans.php

 

By |September 22nd, 2013|art363, Classes, Game, Kelly, Photoshop|0 Comments|

Class 2: Into the rabbithole

“Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity.” —Charles Mingus (who is mingus?)

Goals/Discussion: Mimesis

Nature creates similarities. One need only think of mimicry. The highest capacity for producing similarities, however, is man’s. His gift of seeing resemblances is nothing other than a rudiment of the powerful compulsion in former times to become and behave like something else. Perhaps there is none of his higher functions in which his mimetic faculty does not play a decisive role.
— Walter Benjamin, “On the Mimetic Faculty” 1933

What is our calling as artists, is it to faithfully reflect and report the world, to change the world, to interpret it, to find patterns in it, to reject it, to use it for our own purposes, or it is something altogether different? These are some of the questions that arise in digital environments.

 

 

How to quiet the Lizard Brain.

Seth Godin: Quieting the Lizard Brain from 99U on Vimeo.

Homework:

  1. Silly animation tricks
    For class next week, I would like you to implement a 10 slide ken burns effect with the estro component below and offer a visual and text based infographic about your life.  It must offer numeric and process based info. You must also link on the page somewhere to 10 other people’s projects.

http://pixelentity.com/previews/components/estro/

To do that, you will need to know:

Along the lines of synesthesia: Digital synesthesia.

Brand U.0: David Armano, on personal branding, social media and managing your brand online.

 

Syllabus

 

I will be doing my best to update this syllabus with our explorations and discoveries.

COURSE SYLLABUS
INSTRUCTOR: Sean Cohen
OFFICE: no office, but we can schedule times to meet
Email: sean.r.cohen at gmail.com (please put “[WEB ]” in your subject so I know it is you)

 

TOPICS COVERED (this is subject to change)

  1. Class 1: how to begin
  2. Class 2: tests, code, browsers, emotional validation
  3. Class 3: TBD
  4. Class 4: The Science, Engineering and Construction of Art
  5. Class 5: Business and Commerce
  6. Class 6: Code – nuts and bolts
  7. Class 7: Medium, Rare
  8. Class 8: Kitsch
  9. Class 9: Infinite Library
  10. Class 10: Mutability
  11. Class 11: Designing Presence / Connection
  12. Class 12: Art versus Commerce
  13. Class 13: Critiquing
  14. Class 14: The end of the beginning

COURSE EXPECTATIONS:
The grading policy will be cumulative in nature involving the following;

  1. Attendance is mandatory. Unexcused absences can affect a students grade. 3 unexcused absences will lower the students cumulative final grade by one letter grade. Each absence thereafter by one third of a letter grade.
  2. Students should be present for the entire class period.
  3. If absent, the student must come to the next class prepared for that particular class.  Do this by contacting your peers first, then me.
  4. All class and homework assignments must be completed.
  5. There will be two mandatory reviews, at midterm and the final exam date.
  6. Students keep a journal/sketchbook of assigned investigations, notes and drawings for imaging exercises.
  7. Assigned exercises are evaluated on the basis of;
    1. demonstrated knowledge within the computer application environment,
    2. aesthetic qualities and completion of required actions,
    3. brilliant stunning things that show exploration and growth.
  8. The basis for grading in each project is both aesthetic and technical. Projects that are technically outstanding may NOT necessarily be outstanding all-around.
  9. All projects must be turned in to class website.
  10. Percentages are as follows: projects – 80%; Attendence – 10%, Participation – 10%
  11. Grading is based on a 0-100 % scale; 100-90=A, 89-80=B, 79-70=C, 69-60=D, 59 and below=F

- A/A- = excellent achievement in most or all facets of the project
- B+ = very good achievement overall and some excellent work in limited facets
- B = very good achievement overall
- B- = better than satisfactory achievement with some very good work in limited facets
- C+ = satisfactory work with some better than satisfactory work in limited facets
- C = satisfactory work or the minimum requirements met
- D = achievement is not satisfactory and some minimum requirements were met
- F = work is not satisfactory and the level of achievement is poor

This course is designed to help the student develop intermediate to advanced level skills in visual and conceptual problem solving. Using the Elements and Principles of Design, Animation, Art, interactivity and anything else we can find to throw into the mix, the student will execute complex projects. Lectures and hands-on labs will provide the student with an opportunity to develop skills and understanding in the following areas:

• the use of digital in the creative process,
• the combined use of traditional and digital media in projects,
• the exploration of a range of solutions/styles that utilize both Vector and Raster techniques,
• the development of creative critical thinking skills in research, observation, assimilation, conclusion and transmission of information through an interactive medium,
• the execution of technically proficient digital images that work well aesthetically and conceptually,
• the presentation of projects to a critical audience, and
• the analysis, interpretation, and evaluation of interactive media projects in a group critique.

By |September 7th, 2013|art363, Classes, sean|4 Comments|

Michelle Tomaski Final

Assignment 1 – responsive layout

Assignment 2 - info graphic

Assignment 3 - home page redesign

Assignment 4 - home page redesign 2

Assignment 5

email

parallax - edc

jquery - alert

Assignment 6

Slider - element

Gradient

Text

Assignment 7 - facebook page

Assignment 8 - game

Assignment 9 - flash

Assignment 10 - scrollarama

Assignment 11 - isotope

Assignment 12 – all in package

Assignment 13

gridster

bacon

 

Assignment 9 Michelle Tomaski

Flash

Michelle Tomaski Assignment 11

isotopelayout

 

 

isotope

Critique: Kathrine Clark Sadi Nash Scroll

Although I’m sure many would disagree I like the use of pink in this design. The foundation is based on helping young girls and the font choices and colors represent that demographic. I think you worked well with the scrollarama with the exception of the little glitch towards the end. I also liked the off white strips with texture on them to add interest to the piece and the use of their logo towards the end.

 

Michelle Tomaski- Assignment 7

favsite

 

Besides Facebook, which I think is all of our favorite site, Pinterest is also one of my favorite sites. I enjoy it because you can literally find just about anything on this site. I enjoy looking through the art section because is inspiring and also has many examples of good (and bad) design. It is almost like a text book for design with many examples of all kinds of design. I think it is very functional and useful in saving things you are interested in. I like that you can pin things to your own boards in categories so they are easy to find when you want to refer back to them. I always find my self looking at interesting art, clothes, makeup, or anything really online. The things I like i usually copy and paste to a sticky note or something on my computer but never remember to refer back to it or can not find it. Pinterest makes it easy to look back at what I found interesting or enjoyable.

stayhotelfb

Michelle Tomaski- Assignment 6

Parallax

Gradient

Text

Game

Blog post 10

I like Jackie’s spritely project. I think she has given the fish a movement that makes it seem like it is actually swimming. I also like the that sand at the bottom is a continuous object, because my horizon has a seam in it where it repeats.

By |December 17th, 2012|art363, blog post|0 Comments|