Monday, June 20, 2011

Getting Started with Dreamweaver

I'm going to post a lot of info here about basic usage of Dreamweaver and understanding what you see in the program.

First: Code vs. Design Views
Remember that in Dreamweaver, you can opt to edit from a code view (plain HTML) or a graphical view (what you see is what you get --- WYSIWYG)

If you ever need to get into the HTML side of things, here is a very stripped down view of a basic empty page (it's what Dreamweaver gives you when you open a new page) and where things go in the page:


Click on that image to see it full size. The upper portion (pink) contains some information about the web page itself. Most of this information is not actually visible when you look at the page - instead, you might think of it as 'under-the-hood', 'dogtags', or background identity information that is used in various, non-graphical ways. The 'Head' tag can contain things like the page's title (displayed above the site in the browser's menu area), information about the author of the page, and keywords that can help search engines index the site.

The green section, or everything in between the Body tags, contains everything you see when you view the page in a browser. This is where the great majority of your editing will take place. When you are working in the Design (WYSIWIG) editor, you do not need to worry about the distinction between these two areas in your page - you will automatically be working in the body.

Today we will go over setting up a basic home page, putting some simple things in it, and understanding the layout of Dreamweaver in general.

File Structure:
Your web site or page is just like any other file or directory system on a computer. You can create directories to contain and organize certain filetypes or categories of pages. The first thing you should do is make a directory on your hard drive that you can put your site in - call it whatever you want. You should create a separate directory for your images and include it in your main site directory; people commonly name this directory 'images', but you could name it whatever you want. Other than that, you don't need to set anything special up at this point.

in short: Create a directory with any name for your site, put another directory in it called 'images'.

Creating a Home Page:
'Index.html' - most of the time when you enter a URL into your web browser, you don't have to specify a specific file (you just type in whatever.com), but you do land on a specific file each time you do so. This is usually the site's 'index' file, which must be titled 'index.html'. Your main page should also be titled index.html, but other pages you create and link to must have other names. If you don't have an index.html, the browser will not know what file to load when someone comes to the site!

In short: open up a new HTML page in Dreamweaver, and 'Save As' 'index.html'. This is your main page. You should see it listed on the right in your site directory window/palette.

Adding Content:
Dreamweaver makes adding content very easy. You don't have to know how to write plain HTML to use it (but it helps if you do - and if you want to make serious and useful sites, it is a necessity to understand the coding side of things).

Text:
Type into the Design Editor as if you were working in a word processing document. You can type, add new paragraphs, etc. When you hit enter, you will see your text jumps two lines. If you want to jump only one line, hold the 'Shift' key as you press 'Enter'.

Below the Editor window, you'll see another window that allows you to change style attributes. Highlight any text you want to stylize and try out some of the options.

A word about fonts: web browsers only know how to display a small number of fonts - you can see them listed in this style window (in a drop-down window). If you try to use another font, you might see it working on your computer, but when someone else loads your page somewhere else, there is no guarantee they'll have the same font!! Their browser will display the text in its 'default font' - usually not as glamorous as the font you probably wanted to use.

Pictures:
Put all image files you want to use into your 'Image' directory before using them. This way you'll know they're in the right place. Not doing this will usually result in your images not showing up on other viewer's computers.

Click on the tree icon at the top of your screen - this is Dreamweaver's 'add image' button. Find your image file in your directory and select it. It should now appear in your page. You can make some changes to it in the style window below. Remember that making it larger than it really is will result in a pretty poor image.

Big tip: whenever you make an image for the web in Photoshop, save it using the 'Save for Web and Devices' option. This will allow you to make it more compact in terms of its file size.

Links:
Highlight a selection of text or click on an image to add a link. You can click the link button (looks like chain links) at the top or enter a link in the style window at the bottom. We'll talk more about links tomorrow - for now, know that you can make a dummy link by simply inputing '#' into this field. This is a nice way to make a link without having it actually go anywhere when you click it.

Tables:
Click on the table button above your editing window and create a table. You can change some attributes in the style window below. Tables do not commonly have borders anymore - they can be more useful as precise, invisible containers of images and text. Some sites are built with invisible tables to structure their contents, and this is likely how most of you will create your pages. This method of design was more popular before CSS became useful, and since then tables have become more and more scarce. We're using them in this class because they are basic and simple. Tomorrow or Wednesday we'll talk about more flexible and powerful ways to arrange things on your site (CSS div tag).

Save and Preview:
Save your work often, of course. After saving, click the world icon above your page to preview the site in one of the browsers on your computer.

Project 3: Web Page

The guidelines for Project 3 are simple (since we don't have very much time to work on it!):

  • Create at least one web page.
  • Design your page on paper first. Turn your sketches in on Wednesday for 25% of the total project grade.
  • Include links
  • Include Pictures
  • Include text 
  • Part of it must have been created in Photoshop or Illustrator
  • Successful submission to Internet using FTP.
  • The page must be functional and convey information. I will be assessing your design based on a written statement of intent that you will turn in Thursday when the project is due.

Tuesday, June 14, 2011

Basic Illustrator (Vector)

Illustrator is based on the very fundamental concept that every contour or shape in an image will be reduced to a curve or angle. There is a fundamental tool for creating these lines (called Paths) and shapes: the Pen Tool. You may hate it at first, but you can learn to love it.

The basic idea behind the pen tool is that you have curves, segments, and anchor points between them. One line segment can have a basic curve to it. Two line segments could have two different, but still basic curves. When joined at an anchor point, these two segments become one line with a much more complicated curve. The pen tool allows you to create a string of segments, joined by anchors, that you can manipulate.

You can move anchors around in an existing line, or object, you can add or subtract anchors to a line, and you can also manipulate the shape of their curves. This is done by moving their handles - these appear as small boxes attached to each anchor by a straight line. We'll see all of this in class.

Today - your two best friends will be the hotkeys 'A' and 'P'. P selects the Pen tool, and A selects the Direct Selection tool.

Finally, you have control over the visual appearance of each vector object you create (line or shape) - you can change the color of its stroke (the line itself or outline of an object) and its fill (the interior color) or add other stylistic devices to them.

In many respects, Illustrator will feel similar to Photoshop in terms of its layout. A little exploring will reveal the differences and similarities, but for today I'll try to give you a tour of things that will be useful when beginning. The layer tool is one important tool that you still have available to you - use it!!!

TODAY:
Here is a link for some great line art (old drawings) we can use to trace:
http://commons.wikimedia.org/wiki/Category:Line_art

Project 2: Digital Self Portrait in Illustrator

The self-portrait is an age-old practice in which the artist reveals themselves to the viewer as both the author and subject of the work. We will update this process by creating digital self-portraits. Think about the significance of the portrait in the digital age. Start by creating a vector portrait. Think about how you would like to represent this concept of the digital portrait, and the type of colors and abstraction that you are utilizing as you work.

The next step will be to create a background for this image. We have looked at a variety of artists who use abstraction for different reasons. Think about how to design the background based on visual communication. How can you create additional interest or intrigue in your image? Select colors that balance off of your portrait, and strengthen the image as a whole. How can you move the viewer’s eye around the image?

This background will be where the meaning of the image is conveyed, so think hard about what you would like to communicate and how you can visually change the meaning of the portrait through setting.

You have the option to add text to your image if you would like. This can be as simple as one word or a more complex sentence. Think of the text as visual objects in themselves that relate with the images and color schemes. Utilize text to direct the viewer’s attention to certain areas of the image, and change the meaning of the artwork as a whole.

Finally, composition will be very important to make this image sing. Spend a good amount of time moving your objects around the page, increasing the size of the image if necessary.

Through all of these processes consider how you, the artist, are communicating with your viewer through the visual medium. What is the most important thing that you would like to say to your audience about the portrait in the digital age?

Examples:


AAAAND: Here is a pretty straightforward step-by-step tutorial on process: http://ndesign-studio.com/tutorials/tracing-photo

Monday, June 13, 2011

Class Site: moving forward and thinking technical

By the end of this week we'll need to have a solid idea about what our website is, and exactly who will be contributing what.

Today we need to:
  • Pinpoint what we want our site to be
  • Come up with a name and register a domain
  • Begin deciding what each of you will do to contribute to the site. This includes choosing someone to be in charge of the site's home page, or front page.
  • Set up a forum on Blackboard and begin our collaborative discussion.
Additionally, today we'll talk about some of the most foundational concepts of web design and function, including HTML and CSS. These sound like technical terms (and they are), but don't let that frighten you yet - if you are a non-technical person, you'll be able to do much of your web design in Dreamweaver, which has a graphical interface. We'll get into that next week!

In learning this material, I highly encourage you to become familiar with the site w3schools.com. It's an excellent resource for learning the basics of most aspects of site creation, and it's free. There are many sites out there that document different tools and tricks, so look around. Also, when working on the computer, Google has always been my best friend - don't ever underestimate the power of the internet to provide useful answers, because if you have a technical problem or question, there is almost always a documented instance of someone having and solving the exact same problem. In most cases (I'd say 97% of the time), I'm able to find useful solutions to my questions, no matter how specific.

Critique: Remix

As we hold our first critique, I want to lay out a few guidelines:
  1. Critique requires honest and considerate feedback. Everyone here comes with a different degree of experience with the software in use and with art in general. While it is important to be understanding of these differences, it is also important to share ideas about how a work might fall short or fail. Aside from having a teacher to guide you, this is what you are paying for in an art class: the feedback of your peers in an environment where failure is OK!!!
  2. Provide specific and qualified response: "I like this because" and "I don't think this works because". Sometimes these specifics are elusive, but when you learn to recognize and discuss them, then you are truly learning about art and to be an artist. You will become more able in making judgments about your own work, as you work.
  3. Let's focus on several points given in the original assignment text:
  • What message is conveyed?
  • Discuss the work's conceptual strength - is the message interesting?
  • Is there a believable sense of space?
  • Discuss the visual coherence of the image.
  • What works?
  • What doesn't?

Heads-up This Week

Today:
  • You should have your Remix project finished, posted to your blog, and ready to critique.
Tuesday:
  • Remix: Revisions Due. I will begin grading.
  • Reading due: Christiane Paul. PDF available on Blackboard.
  • 5 self portrait photos due.
  • If you have line drawings you'd like to play with in Illustrator, bring them in.
Wednesday:
Thursday:
  • Artist Post 2 Due
  • Be ready to share ideas for Project 3. Include pictures, sketches, whatever it takes to convey the main idea.
  • Keep working on Scanner Darkly Self Portrait
Monday: Project 2 Due

Wednesday, June 8, 2011

Images we'll use

Examples of the Remix project: 



Some bad photos we can work on / look at (taken from the web):




Today's Tools (Color and Clarity Adjustment, Healing Tool, Clone Stamp, Burn, Dodge)

Color Adjustments:
In the Image Menu, there is a side menu called Adjustments. Here you have a number of powerful tools for adjusting lighting, contrast, and color in a number of ways. There are also tools that add photographic effects, like photo filters, etc. here. We'll play around with the more common tools in class. OOne very important thing to remember: when making these kinds of adjustments permanent, be sure to back up your original image or copy it to a hidden duplicate layer. Each time you make an adjustment, you lose some of the original data present in the picture, potentially resulting in less clarity and more pixel junk.

Clarity:
We'll look briefly at the Sharpen and Blur brushes, and their respective filters. Sharpen helps to strengthen edge clarity, while blur does the opposite. The sharpen tool's icon looks like a triangle, while the blur tool looks like a drop of water.

Clone Stamp Tool:
Similar to the healing tool, the clone stamp tool resamples or copies sections of your image for pasting in elsewhere. It looks like a rubber stamper. You need to hold the Option key to sample an area of your picture.


Healing Tools:
Like the clone tool, these are used to resample areas in your image for use in correcting or healing scratches, specks, and other unwanted junk. The difference is that these are a little more intelligent, and provide a little color correction and tend to be easier to use when fixing problem spots. It's icon looks like a bandage. To use the brush version, you need to hold the Option key to sample an area of your picture.


Burn and Dodge:
These emulate darkroom adjustments. Burn darkens, while dodge lightens.

Yesterday's Tools (Select, Move, Transform, Using Layers)

Select
Remember, there are a number of selection tools to help you in various situations. Holding down the 'option' key will allow you to make your selection tool into a deselection tool. You can deselect and entire selection by pressing CMD+d, or going to the Select Menu and choosing deselect.

Move
This one is easy. If you want to know the hotkey, it's 'v'. You'll use it a lot.

Transform
When you have a selection made (or a discreet chunk of image in a separate layer), you can hit CMD+t to transform it's scale, rotate it, etc. If you go to the Edit Menu, you'll find there are other transform options that can be fun and useful.

Layers
Remember to use layers, and use them often!! When you've finished this project, you should have a collection of many layers. You can drag them up and down in the layer palette to bring them forward or backward in the stack of layers. You can also merge layers together, or flatten the entire image if you need to. These options are available in the 'Layers Menu'. We'll look at layers in more detail on Thursday.

Tuesday, June 7, 2011

Digital Remix Project

"The fact that the digital medium allows for the seamless reconstruction and manipulation of reality seems to have heightened the awareness of the questionable nature of the authenticity of all images." 
 Christiane Paul

Main Idea:
We will create a visual remix by combining multiple images to build an alternate sense of reality. Use at least 3 scans at 300 ppi, combined with at least 2 of your classmates’ scans, and at least 2 appropriated images from Wikimedia Commons or some other legal image source (HIGH RESOLUTION!!). You may also include Digital Photographs in the construction of your image. You may cut up all images and manipulate them beyond recognition if it serves you purposes.

Goals: 
Create a Digital Collage that explores the Concept of Fabricated Reality in Contemporary Society.

· You must create a believable sense of space in your image. Part of developing strong image is drawing your viewer in. If the image appears falsely constructed, or flat, it looses effectiveness.

· Create a landscape, room, or other space for the background out of scanned textures.

· As you collage figures or objects into the scene make sure that they are seamlessly placed. They should be in scale, matching the lighting and hue of your background.

· The Document Size of your image is up to you, but you must make this decision early and the maximum Width is 24”.

· Think not only about what would be the most interesting visual solution to the problem, but also about what message might be conveyed by the hybridization you are attempting.

· You should start by making sketches of possible combinations (digital or drawn) in your sketchbook. Analyze the results and choose the groupings that are working best for your intentions. I will meet with you during studio time to help you with this process.

Grading:
Visual Coherence of Image 25% Conceptual Strength 25%

Sketches/Prelim. Drawings 25% In-class Work Ethic 25%

(*Including all in class activities) (*Putting in the effort to fully develop your ideas)

Example Artist Post

You will do three write-ups of digital media artists for this class. The first is due this Thursday. As per the syllabus, the following guidelines are in place:
  1. Introduce the artist with background information and images/video of their work.
  2. Delve deeper into what you see in their work and what it means.
  3. Critique the concept and aesthetic quality of the artwork. How could it be better? 
  4. Minimum 3 paragraphs; MUST include links to artworks and citations.
This is an excellent example given last semester (courtesy of Billy Friebele, who teaches Digital Media here at SMCM):


Rafael Lozano-Hemer's Vectorial Elevation



Rafael Lozano-Hemer is an artist working with digital technologies and public space. I discovered his work on the Rhizome web site a while ago and have continued to follow his work over the years. One of his earlier pieces, Vectorial Elevations was an interesting mix of interactivity, technology, and particpatory culture. Basically this piece allowed the public to design a lighting scheme through a simple interface on a web site. The designs created were then projected over the central plaza in Mexico City, the Zocalo with high powered robotic searchlights. The designs were ephemera and only lasted for several minutes, but it was photographed and the image was emailed to the participants as a jpeg. This was created in 1999-2000, which is pretty early for this type of innovative participatory digital artwork. He has since exhibited this work around the world in public spaces, most recently in Vancouver, Canada.



I believe that Lozano-Hemer is making an interesting statement about public art and it's relationship to digital technologies. Public sculpture is usually either a representation of a heroic figure or some type of abstract sculpture. This artist uses abstract imagery, lines of light in space, to create geometric designs, but the images are time-based and are only viewed for a short period of time. This changes the artwork into an event rather than a set piece of sculpture. Additionally, Lozano-Hemer includes his audience in the creation of the artwork. This is an interesting development and in a sense makes this artwork somewhat political in my eyes. He gives the viewers agency to project their designs into a public square in the middle of the city. I see this as an important part of his artwork. In reading his website, I noticed that he calls his artwork Relational Architecture, which I am assuming refers to both the spatial quality and the interaction with the public.

Overall, I feel this piece is very successful for the time it was created. It manages to expand digital art out of the computer, and even out of the gallery for that matter. The amount of technological coordination to pull this off is impressive. Also, I am interested in the visual quality of the images created by the lighting designs.

One critique I have of the piece is that it the amount of liberty granted to the audience is extremely limited. While users are given a voice to some extent, they can only create simplistic geometric patterns. In the end I feel that each design looks very similar to the others. Perhaps he could have included the additional choice of altering the colors of the lights, or the movement of the lights over time. This would provide more options for expression and tap into color associations and patterns of movement in space.

However, given the complexity of the task, and for being produced over ten years ago it is impressive and I believe it is an important step for both digital and public art. 

File Type, Resolution, and Size

In this class we'll use a handful of file types for different kinds of images and documents. There are dozens and dozens of different formats in which a digital file could be saved, and each has a more or less unique purpose. Here are some of the more common types and why you might need them:

Bitmap
Bitmap images are direct or compressed 'maps' of a grid of pixels. Information about each pixel is saved to the file, so when it is loaded, the computer simply lays out each pixel onto the screen according to it's individual data. When compressed, a bitmap can be 'abbreviated' or cut to a smaller size - it takes shortcuts to fill in large areas of similar color using less data. Photoshop can be used to produce and edit Bitmap images.



.jpg (or JPEG, 'jaypeg')
The most common type of image file at the moment. JPEGs are compressed bitmap files, meaning they have been squished down to be smaller in terms of the amount of memory/disk space they take up on your computer. This is good because it allows for quicker downloading, easy storage, etc., but it also means the image can lose a lot of clarity depending on how much it is compressed. Each time a JPEG is saved, it is re-compressed and loses additional clarity, so you should never save a serious image file as a JPEG until it is ready to distribute.



.psd (Photoshop Document)
Photoshop's native file type. These tend to be large files because they are uncompressed, can contain layers, which we'll talk about today, and retain a lot of data about the image itself, including the history of all changes made to it. This is the file type you should use each time you begin working in Photoshop. When an image is finished, you can save it as another appropriate file type.

.gif ('Jiff' of 'Gif' - Graphics Interchange Format)
Another compressed bitmap file type that is common on the web. Gifs do not lose quality when repeatedly saved like JPEGs do, but they are limited to a maximum of 256 colors. Gifs can also be saved with multiple frames to enable animation. They also support transparency.



.png (Portable Network Graphics)
A newer compressed bitmap file that was designed to replace Gifs - they are better in many ways, including greater color depth, more advanced transparency, and sometimes smaller file size. Unlike Gifs, they do not support animation.



.tif (.tiff, TIFF - Tagged Image File Format)
A widely used print-media file type. It is generally uncompressed and can include some vector graphics -  this is typically used for final printing situations where the highest quality is needed. They are typically very large.

Vector 
We'll be getting into vector graphics next week. In short, they are unlike bitmaps in that they do not contain information about each pixel in an image. Instead, they are actually saved as sets of geometric equations, so to speak, that result in shapes, colors, and textures when read by the computer. This means they can be infinitely scaled up without losing clarity - the equations are just filled with larger values to blow them up bigger. This is useful for images that need to be printed, reproduced, or projected at different sizes without losing any clarity whatsoever.

Monday, June 6, 2011

Pixel Drawing

Our first workshop exercise is to use Photoshop to create a tiny pixel image. Your assignment is to create a 50 by 50 pixel avatar for yourself, and it must be based on any animal or fictional creature you could bear to have represent yourself...

Here's a great website featuring art made entirely from tiny pixels: http://www.pixeljoint.com/


And here is a great graphic artist that uses only pixels: Eboy

Thinking about the Final Project from Day 1

Our final project will be a collaborative one, so we need to discuss a topic that all can agree upon. The project itself will be to produce an informational website. That sounds kind of boring, but if you think about it, all websites tend to be informational since they're a kind of functional document. Each of you will contribute to the site by producing one or more web pages that will be interlinked to the rest.

We will discuss possibilities and ideas in class. My contribution to kick things off: we could possibly create a fictional version of something in the real world, or invent something entirely. Like a corporation, travel guide, biological or ecological documentation, history, etc. Each student could contribute a page that presents one aspect of that fiction (the ecology of a fictional creature, uses of a fictional product, etc). Here is a great example of such a site by Baltimore artist Josh Haycraft: http://bhbitb.com/.



Post more ideas in the comments! Let's get a discussion going.

Looking ahead from day one

Due to the accelerated timeline in which this course progresses, I'm putting an 'INCOMING!!' list of things to remember for the next few days. We would usually have a week between each class, so you may need to budget your time and plan when to get each of these done day to day.

Monday June 6th (after class):
*) Make 1st post to your blog with some kind of picture or video embedded.
*) Email your blog address to me (rbrowning@smcm.edu).

Tuesday June 7th (by the start of class):
*) Continue brainstorming for final project topics to share with class. Post 5 possible topics to the comments of the blog post linked here; no wrong answers or bad ideas are possible, so don't stress out about it.
*) Turn in class voucher - these are purchased at the cash register in the bookstore.
*) Read Christine Paul .pdf (if I can overcome my technical difficulties...)

Wednesday June 8th (by the start of class)
*) Pixel Drawings should be complete - post them to your blog.
*) Post a minimum of 10 scans to your blog.
*) Have a number of ideas in your sketchbook for Project 1: Remix. This includes Brainstorming (lists, prose, any other kind of writing to generate ideas), sketches, and stated goals for the project.
*) Bring 2 high resolution bad photographs to class (or high-res scans of an old photographs) - below is an example:


Thursday June 9th (by start of class)
*) Make your first 'artist post' to your blog.
*) Bring problems/questions to class and we will solve them as a group.

This first week will be the most hectic, in terms of the number of things that need to be done. I promise things will settle down next week as we get through the many small things that have to be introduced from the outset!

Friday, June 3, 2011

Welcome to Introduction to Digital Media, Summer 2011!

Hello Class - here we go! This blog will serve as our central meeting place online, so make a note of it, or simply refer to the address as listed in your syllabus (summerdigital.blogspot.com). Here, I will put up links about artists, programs, techniques, ideas, etc. that we discuss in class. Each of you will also need to start a Blogger blog, which will be linked here as a reference for me and each of the other students in class. This will be your means for submitting finished work and sharing media, projects, and ideas with everyone else.

To start things off, I'll share some of my own work. I'm feeling a little brain-dead right now (too much work!), but I promise I'll get to posting relevant info soon!



Here is a link to my primary website, including artworks and such: http://ryanbrowning.com
- and -
Here is a link to a blog I've started that documents me fumbling through the process of getting into illustration: http://vastcontinent.com
- and -
Here is a link to a blog/site I began a few years ago as an art project, which we can discuss in class: http://thelandmass.com