ARTS 1311-Reading 4

1. How is Warhol able to turn in “off” and based upon the article does he not care about the work?

Warhol learned there is “nothing to be afraid of” (146) about art, and he does art for the sake of doing art. He learned to “do something” in the challenges of creativity and made it his priority to not stand there and let his impulses pass him by. He wants to celebrate outlaws and and uniqueness, in American women, youth, and any type of art he can get his hands on. He says that there is “nothing to understand” (149) in his work, and instead he focuses on the experimentation process, and relies on his impulses to create something. He is very real about himself as a creative and doesn’t take praise that is given to him too seriously (147) or anything for that matter, which really helps him to be able to focus on creating rather than his image.

2. Why is the article relevant to the last project?

This is relevant because this project is highly subjective to the creator’s vision and to succeed in this project, you need to be bold and not care about what people will think. It will be helpful to use this mentality to explore creative things and not worry about how we look (literally). Trying new things that are not ordinarily something you would do will be key to making something that is interesting and dynamic, so it will be important to try any idea we can think of and be willing to try it and not care what other people think.

Personal Reflection

1. Do you become self-conscious of your ideas?

I sometimes become self-conscious of my ideas if people criticize them. I am usually good about self-criticism and realize that it only harms my creative process, but other people’s criticisms can shake my own confidence and then I start to worry if I have made the right choice. I usually am able to figure out a way to overcome these feelings and take useful criticism or new ideas without compromising my artistic integrity.

2. What do you think of the nothing-to-lose attitude? What are it’s pros and cons?

I like this mentality and I think it helps to build confidence. When I go in for auditions, I try to push myself towards this way of thinking to relieve the pressure and focus more on having fun and my character than being nervous about the audition. It poses a problem when you start to not care and put effort into what you’re doing. This mentality can quickly lead to someone seeming like they don’t care, or lack preparation or qualification.

ARTS 1311 Reading #3

1. Based upon the readings the word design comes with many definitions. Across all the readings what are some examples of these differences?

Clement Greenberg defines design as “a more or less conventional sensibility.” (26) He states that Minimalist art, art that is more focused on how it is created rather than how it makes someone feel, can be “readable as art” (26), and though he takes it “seriously” (28), he hopes for new designers to learn from mistakes of past ones and wants them to move towards “Good Design.” Paul Rand, on the other hand, has a much more positive take on design. He views it as “a problem-solving activity” (34) and acknowledges that while it is practical, design is not motivated by financial success, rather, by art. Rand validates design as a complex way of life that incorporates technicality with creative talent, and acknowledges that it takes time, just like good art. Many designers face lots of struggles in communicating their work to the non-artistic world, and thus to Rand, to create “meaningful design” is a very challenging task. (37) Vilem Flusser takes a more practical approach to defining design, and takes time to acknowledge its synonyms, like “plan, intent [and] scheme” (55). He thus dubs the designer as a deceitful one, but doesn’t leave the artist out, using words like “artificial [and] artifice” to show that they too are “conjurers” (56). He then explains how two words very similar in meaning came to be so far removed, and cites bourgeois as a reason. Technical things and creative ones were completely separate, and this trend has stuck into modern times. However, he mentions that design must deceive nature through technology. (56) Lastly, Hal Foster states that for some, design can be a “completion” or a “loss of objective” (67), depending on one’s point of view. He thinks design can allow for subjectivity within a specific cultures allowing room for “self-interpellation” (69) and the hybrid of aesthetic and utilitarian.

2. How does misunderstanding or rather multiple definitions of a singular word effect how we perceive design? Be sure to reference the four articles.

All of these different definitions lead to many different understandings and thus connotations about design. By Hal Foster’s definition, one may be able to see themselves marketed in the product (69) as the media sells culture and intelligence, but as Vilem Flusser states, this is just the type of “deceit” that designers do. He sees this use of the media and consumer feelings as “artful” (57) and though the outcome is good, we “replace what is natural with what is artificial” (56). Greenberg appreciates the “sensibility” (26) of design, but does call it “non-art” many times throughout his essay, which calls into question how “serious” (28) he is about design. Rand has the most positive outlook on design out of any of the four writers, and acknowledges the hardships that come with the job and the difficult task of blending practical with art to create a “point of view”. (34) Because of the long separation between art and design, and the derivation of the word “design” into the many uses it has today, there are many different interpretations from different people in society as to what design might be for.

Personal Reflection:

1. How do you suppose you could better prepare yourself as a maker of aesthetic objects/ideas?

I think I could be better aesthetically by looking into different art movements and techniques and finding my niche in the creative world. I am very broad when it comes to things that I like, but sometimes I realize that I need to create a set of things that cohere together or make something that fits a certain style or purpose. If I knew more and practiced more in different techniques and artistic styles, I might be better equipped to handle these problems, and rather than searching the internet for a reference that encompasses the feel I need to create, I would have my own creative memory bank to draw from.

2. What are things you currently do to practice your creative muscle?

In all of my projects for the class, I have gotten exponentially better at being willing to try something that I am not entirely sure will look good or work out. With every project, I encourage myself not to adhere to my perfectionistic tendencies and force myself to put something on the paper just to break out of my head. In the last project, I took photos without carefully lining up the shot, just to see what would happen, and adjusted from there. Though I like working methodically better, I find it helpful to push my comfort zone a bit because I find solutions I never would have thought of before.

ARTS 1311 Reading #2

1. Based upon the reading how are priorities set for specific projects? Or in other words, what is it that determines the guidelines for given projects?

For the Panton chair, the design formula came from the need to break traditions and make something new, and challenge questions of everyday objects. The What If project says that curiosity is a main factor in determining guidelines and ways which one creates. Anything a human experiences can lead them to create something to alter other humans’ experiences.
2. How does the artist/ designer approach decision making differently or do they?

For Linda van Deursen and Armand Mavis, they found design and “editing” to have the same potential for creativity as art. While one may typically see an editing role as that of removing and limiting, these designers made new choices and thought of new ideas to create something cohesive and enjoyable, and enjoyed working that way themselves. Similarly, Michael Amzalag recognizes that instruction and basic form can morph into creativity and art. Mathias Augustyniak recognizes that design is just a specialty art approach, and that romanticizing the idea of being a graphic designer prevents you from experiencing a situation in more than one way, as N55 Art and Reality states. N55 says that we cannot limit art to just one specific situation, or school of thought, in creation or critique. By doing so, the art cannot be fully experienced.

Personal Reflection

1. How do you make decisions? Are they based upon anything substantial? Why or why not?

 I make decisions based on how it will affect the whole. I like to look at how doing one minute thing will change and alter the final state of something, in this case a piece of work, and think a few steps ahead to see the final product. I also compare and contrast outcomes of different choices in my mind to make sure the final project is exactly how I am envisioning it. If a decision ends up not working in my favor, I try to use it to my advantage and alter other decisions I may have made already to make sure each minute piece of my work fits together.

2. How do you know when something is “good” or working?

For me, when something is good I am excited about it. I can’t stop looking at it or thinking about it because I am proud of myself for making it. If it’s not working, I can tell because I can’t move on and I get stuck thinking about how to make it something I am proud of.

3. How do you rework projects to make them work?

I will often sit and think of a different way to attempt it to make it work if the thing I have done is changeable, and think through what different ways will lead to. If it is permanent, I accept that as final and alter the other things I haven’t made yet or that are changeable to fit with the mistake and work and think until the mistake becomes part of the work.

ARTS 1311: 4D Line Project

For the 4D line project, I performed my favorite monologue from the George Furth and Stephen Sondheim musical, Company.

Right after I got to college, a friend of mine who has a garden apartment gave me a cocoon for my dorm room. He collects things like that… caterpillars, insects, and stuff… It was attached to a twig, and he told me that one morning I’d wake up to a beautiful butterfly flying around my room when it hatched. He said that when they first come out, they’re soaking wet and there’s even a tiny little speck of blood in there — isn’t THAT fascinating — but within an hour they dry off and begin to fly. Well, I told him I had a cat. I had a cat then. But he just said, “Put it somewhere where the cat can’t get it!” which is impossible, but what can you do? So, I put it up on a ledge where the cat never went, and the next morning it was still there, at least so it seemed safe to leave it. Anyway, about a week later, very, very early this one morning, the guy calls me and says, “April, do you have a butterfly this morning?” So I put down the phone and managed to get up and look, and sure enough I saw a little wet spot, and a tiny speck of blood, and… no butterfly. And I thought, “Oh, dear God in heaven, the cat got it.” I picked up the phone to tell the guy, and just then, suddenly, I spotted it underneath the dressing table. It was moving one wing. The cat had gotten it, but it was still alive. So I told the guy, and he got so upset and he said, “Oh, God, April, don’t you see that that’s a life? A living thing?” So I got dressed and took it to the park, and I put it on a rose. It was summer then, and it looked like it was going to be alright; I thought so, anyway. But that man… I felt so damaged by him — awful — that was just cruel. So I got home and called him back and said, “Listen, I’m a living thing too, you s***head!” I never saw him again.

ARTS1311_Reading 1

1. What is the purpose of a designer, do they always work for a stakeholder?

The purpose of a designer is to fulfill needs creatively. A designer crafts for a specific purpose, however, I think there can be instances when the designer creates a solution solely for their own purpose. The difference, I feel, between this type of designer and an artist is that the designer feels their purpose is to solve a problem with their world, and the artist feels that they must express themselves against these problems.
2. Is the artist always a self-expressive narcissist?

I do not think so. While an artist is creative and draws from their own experience, soul, and imagination, I think the art they create can often fulfill purposes for other people, even if it is totally different than what the artist intended, and this is the goal of many artists. They inspire emotion and incite new ideas in viewers of their work and this is a task which takes great talent and knowledge of the human spirit as a collective.
3. Can the designer/artist exist?

I think so. There are many instances where creating for the sole purpose of creating can turn out to serve a purpose, or dually fulfill the creator by expressing the artist’s inner desires and solving a problem in the real world.

Personal Reflection

1. What is your personal view of the difference between the designer and the artist?

My idea of the difference between designers and artists is that artists create solely to create, and they often create something of their own imagination or express their “human spirit” (Nelson 22), while designers create to fulfill a need. While designers are allowed to and do use their own creativity, it is more for supplement than for the sole purpose of expressing themselves.
2. Which are you, why?

I consider myself a designer, as I am a graphic designer and much of my work focuses on accomplishing tasks, designing logos, creating marketing, and making art to display a message or make someone feel something. I do have to be creative in my work, but overall, my task and the way I view graphic design is to solve real-world problems through creativity.

ARTS1311_100 Solutions

For this project, I used a Tootsie Pop lollipop as my object. It was sitting on my desk and I thought its bold color and unique combo of parts would allow for many opportunities.  At first I found it very difficult to incorporate the object into my environment because I was limiting myself to only color and shape. When I began imagining the object as something completely different than what it really was, then I was able to establish a workflow and eventually reached 100 solutions. For me, I found that drawing scenarios and inserting the lollipop or wrapper into the drawing worked best. This allowed me to imagine any type of situation I could think of, and expanded my limits. It was difficult to hold the objects in place while taking the picture and to draw the cartoon around the objects. Here are some of my favorite photos.  These are my favorite images from the 100 because I feel that they tell a story and integrate 2D and 3D together as one. Even though the lollipop may not look exactly like what it is replacing, you are able to know right away.

 

Here is the link to my BOX. https://stedwards.app.box.com/folder/17480615414

TYPO I: Final Essay

I think that anything over 8 hours a week is excessive to devote to this class alone, purely because there are many other courses that require my time and energy to succeed in them as well. If hypothetically this was my only class, I would consider spending more time on the projects in order to practice and hone my skills. On the other hand, I think anything below 3 hours is too little to spend for full-fledged work. This amount of time doesn’t allow room for edits and time to make sure everything is correct and the best it could possibly be. This semester, I have spent anywhere from 6-12 hours on a project. I don’t mind taking my time on a project and perfecting my work in this class, because I enjoy taking pride in my work and making something I am happy with. If I have the extra time, I am more than happy to spend it working on my projects, because I enjoy it and I think it is a waste of time to make something that isn’t helping me learn or grow better in my skills.

Sophisticated work is refined, thought through, edited and “proofread” many times. It also has purpose, and does more than look pretty. My typography projects are sophisticated because there is a great deal of effort that goes into them, and I constantly edit and rework until everything has balance and purpose. For instance, the typeface project took me over 10 hours to complete, because I was making sure each poster I created fit into the set and looked like a gallery exhibit. Then, for the commencement speech book, I wanted it to not only display the text, but fit the mood of the speech and reflect the values and words said in the speech. I was constantly editing and reworking the type to make it all functional and visible, but also make it fun and inspirational just like Lin Manuel Miranda’s speech.

Meaningful feedback I received for the wikipedia reader project was how to refine the roles of the text, to choose a sans serif for headings to contrast and distinguish the universal header text from my personal article. I took this feedback and made the adjusting changes, and subsequently went through my booklet to see if there were any other places to make roles of texts stronger.

I found making the booklets to be fairly challenging, as getting the printer to work in my favor usually was a hassle. However, I quickly got the hang of setting up a document in InDesign and was able to adjust, and kept practicing until I got it right. The hardest part was printing and cutting accurately, I had trouble adjusting margins and content so that it would bleed off at the right part of the text especially in my commencement speech book. The easiest part was coming up with a grid system and defining roles within the texts. The most enjoyable part of making the books was finally completing one and having a physical object to hold that I had made completely.

This semester, I joined the St. Edward’s fashion magazine, CABRA, as a member of the design team. I was in charge of designing spreads for one of the 7 shoots featured in the magazine, a task which forced me to use my knowledge of typography and the grid to layout a professional grade magazine. I also began work for the campus ministry, and have done a number of designs that showcase my talent and challenge my skills daily. This job has been a lot of fun and still challenging because I have to find new ways to market spirituality to college students, not always an easy task. I have enjoyed these opportunities to contribute to two major organizations on campus and be creative.

My life outside of school has positively affected my schoolwork because I am able to identify typography and design, both bad and good, everywhere I go. I enjoy looking at signage all around Austin and seeing if I can identify the font or the grid, and this helps me to know when my own work isn’t as impactful or sophisticated as it could be.

My ideal classroom is one that is small and where everyone knows each other, not necessarily as friends but enough so they can give meaningful feedback and support to one another. An ideal classroom would be one where everyone is driven, almost pressured to make good work because they enjoy it and want to contribute to the dedicated environment. I have done my best to contribute to this type of environment because I always offer feedback and put a lot of effort into writing critiques to better my understanding as well as my classmates. I also put full effort into our projects and come to class with a positive attitude to make class somewhere I want to be. busy-persons-retreat-11x17

VISU 1311: Inkjet Prototypes

 

If two of the images in my book were swaped, the logic of my sequence would change drastically because it would break the “flow” of the journey through the hotel. Everything is placed in relation to when you would see it as you walked through the hotel, and for the most part, are placed in the book in the order that I took them. All of the “rooms” that I visited are grouped in different sections of the book. If you swapped any random images the book would lose this flow of movement through the hotel.

img_1537 img_1536 img_1535 img_1534I have refined my prototypes by changing the size of the page numbers and fixing my quotes to use typographer’s quotes instead of tick marks. I have also changed some of the images that I felt were too dark and fixed the order of certain sections or groups of images so that they have a certain pattern. I also edited the actual text in the book to change from lyrics from a jazz song to lyrics from the Eagles’ Hotel California, which I thought better suited the Driskill’s haunted vibe. To accent this, I also worked with the images to make them very dark and have lots of contrast and shadowing.

VISU 1100: Blog Post #12

I have found this class to be a very good way to see what my future in a Visual Studies major will be like and prepare for the years ahead. I have enjoyed hearing from a wide range of speakers to hear their perspectives on this field and how the city we live in can help influence or jumpstart a career for many. I wish there had been more time to collaborate with some of my classmates, either by commenting on work or having discussions after speakers to get to hear their opinions and create a community, because I still don’t know many of the people in my class after 13 weeks. However, I thought the variety of the blog posts and the speakers kept me thinking and the class never felt repetitive, as each speaker may have had similar careers but always a different point. I think it may be interesting to connect some of the presentations, perhaps the student or alumni, to what we are doing in the Visual Arts studio class, it’s my understanding everyone who takes this one takes that class as well, and this may be a good way to get feedback or advice that can be applied right away instead of tucking it away for a few years until senior portfolio presentations. Overall, I thought the class gave me a good introduction to life in the Visual Studies program and made me excited for the years to come.

VISU 1100: Blog Post 11

Since I missed last Monday’s faculty presentation, here’s research (like BP3) on an artist I like, Daniel Aristizbal. I found his work on Instagram recently, @darias88, and have been enjoying his use of space and depth along with vivid color and iconic images. I like the way he creates symbols and uses lots of  negative space, though his images are thoroughly enriched with color. I also enjoy how simple the objects he creates are, it is almost cartoonish but the realness and depth adds a new level to this comic-book feel. His creative process, described at https://www.format.com/magazine/features/illustration/daniel-aristizabal, is also very interesting as he relies on a sketchbook to decide how to compose 3D images, and sees his projects essentially as sketches coming to life.

 

For a 5-year plan, I would like to continue to hone my skills in college, work freelance as I have been, and work the summers at the print shop in my home town to gain experience in silk screening and know how to handle real-world customers. When i graduate, I will probably plan on looking for a job in a city, whether it be Austin or in California where I am from. I would hope to start as an apprentice or a junior designer for a marketing firm or design compan

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From Instagram, captioned “Trick or treat, happy halloween!”. I like the textures showcased, the matte of the background with the shine of the plate and the transparency and jelly of the Jell-O.

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From Instagram, I love the way he keeps the pencils and their respective parts looking like their actual components, the wood looks like wood, the metal has shine, and the eraser is rubbery, yet he bends them in ways the mind knows is not possible.

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“The D, a water surreal candy lipstick park, non sense but i like it.” I also like it, I like how it takes a minute to conceive the “water park” and how each piece works together to convey this image. I also love the shine on each piece that looks like the plastic of a slide, and the color combo that screams summer.

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“I’m married to the game”, the royal blues and rich background contrast with the candy ring pop so well, and the hand as the same color as the background makes the shadows key to the composition, almost like a shading exercise.