Advanced Digital Imaging
ARTS-4860-01 and ARTS-6860-01


Lampman, by Silvia Forest 2011 archival digital print on canvas

Advanced Digital Imaging is an upper level studio exploring individual visual/mixed media arts projects contributing to thesis or dissertation development. Topics in creative expression in imaging, spatial studies, and digital/physical mixed media practices are examined from issues raised in class projects.

Advanced studies include high resolution digital photography, gesture, assemblage, augmented reality, and projection and lead to an independent final project and web portfolio.
Short readings include literary works from Saunders; theoretical works from Barthes, Manovich, & MoHoly-Nagy; and cognitive studies from Solso.

Prereq: a related 4000 level arts course, or permission of instructor
Credits 4
Course Location: West Hall 214 Digital Imaging Studio

Instructor:
Kathleen Ruiz
Associate Professor of Integrated Arts
email: ruiz@rpi.edu    
office: West Hall 314c
office hours: Thursdays 11:00am to 1:00pm
please use sign up board on office door WH 314c or email ruiz@rpi.edu

* Required Materials
* Required Events
* Resources and Tools
* Overview Schedule and Discussions
* Drop Box Information

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Course Assessment/Measures:  Assignments:

week 1. Emotion Sketches:
due Feb 3 (3 points)

Create a series of 7 drawings suggesting emotional states using either of the following techniques: digital drawing with stylus or traditional drawing scanned into digital space, or photographic drawing using time value exposure and gesture or any combination.

 

Other Examples:
EmoGestureThree
Hope
Mixed
Jimmy K
Memo
Repet
Ethan Kaplan http://cargocollective.com/ekapAdvDigImg/Emotion-Sketches

Consider basic emotions or characteristics: i.e.- Joy, Jealousy, Anger, Love, Sadness, Depression, Happy, Peace, Fear, Sickness, Masculine, Feminine, and etc.  As you work on one at a time, take the characteristic/emotion into mind, and try to remember what that specific thing feels like. Just let the pencil or stylus go where you feel it should as you progress. Let your feelings and intuitions guide you. The main ideas of the exercise: to LET GO of preconceived notions! It helps to stimulate your creativity! You cannot use literal symbols or pictures: no intentional tornadoes, hearts, clouds, fluffy bunnies, etc.

Print your best 7 drawings on the Phaser laser printer in class, scan them and upload to your dropbox

IN STUDIO 214 :
Ensure you configure your computer to print to the printer in WH214:
Set up for connecting to HASS printers:
http://hassinfo.rpi.edu/hass-student-printing/

Phaser 7760DX Laser Printer
Suggested printing settings for printing on high quality laser card stock semi-gloss paper 11x 17”:
Printer set up:
printer: manage colors
- tabloid
- tray 2 special paper (thick cardstock/glossy)
Image quality (automatic)
Print Settings on computer:
-use printer manger colors
-tabloid (11x17)
-tray 2 for special paper (thick glossy paper) set on computer and on printer
- image quality (automatic)

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week 2, 3. Gesture Drawings
due Feb 10 (3 points)

Reading: due Feb 3 Gesture Drawing please create a short reading reaction paragraph

Project: 7 finished gesture drawings printed on 11” x 17” laser printer on cardstock

We will work with a live model in studio for digital life drawing gesture studies. We will also work from objects and the landscape.

Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: gesturedraw2

“digital action” drawings in action of World-renowned dancer and choreographer
Bill T. Jones with Paul Kaiser and Shelley Eshkar:
http://openendedgroup.com/artworks/gc.html
https://www.youtube.com/watch?v=aL5w_b-F8ig

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We will conduct a series of modeling sessions in studio to help develop these skills further:

8 - 30 second poses = 240 seconds (4 minutes)

8 – 60 second poses = 480 seconds (8 minutes)

4 – 3 minute poses = 720 seconds (12 minutes)

3 - 5 minute poses = 900 seconds (15 minutes)

Request poses (please bring in props, object, etc. for special requests)

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On your own please try landscape studies = 2 at 30 seconds, 2 at 1 minute,  2 at 2 minutes, 2 at 3 minutes

And 4 object sketches = 2 at 30 seconds, 2 at 3 minutes;  60 + 360 seconds (7 minutes)

Pick your best 7 and print them on the laser printer on paper  approximately 11” x 17”

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Week 4, 5. Montage, collage, drawings or photographic works
processing or combinations
due Feb 24 (3 points)
(7) high quality 11” x 17” Epson Archival Prints on your choice of substrate
using any technique of montage, collage, drawings or photographic works or combinations

info needed for printing to the Epson Archival printer by appointment only in Sage 2410:
* use high end monitors to view your image, do not rely on your laptop monitor for high end file proofing for this printer
http://www.hass.rpi.edu/pl/teaching-facilities-s17/large-format-printer-suite

Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: C:\Users\ruiz\Desktop\Advanced Digital Imaging\AdvancedDigitalImaging\Pastorino-DiazAeroclubToyLook.jpg
Pastorino Diaz Aeroclub

 Portrait Photography
Table Top Photography
Toy Technique
3D Roundtable Photography
Landscape Photography
ECU Photography

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week 6, 7, 8. Montage, collage, drawings or photographic works
processing or combinations
due: March 17  (20 points)
(3) Large Format Archival Prints 
Epson archival 9800 prints
(minimum size 42” x 36”, max size 84” x 42”)
(at least one on canvass)


Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: C:\Users\ruiz\Desktop\Advanced Digital Imaging\AdvancedDigitalImaging\HochSanstitre.jpg
HึCH, Hannah, Sans titre, 1920

You can use any set of themes from class, or from your own set of concerns and work them into highly developed, finished large scale works using any technique of montage, collage, drawings or photographic works or combinations thereof

Photographic Sculpture
Montage & Collage
Printing and Painting on Digital Canvas

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week 9. 10, 11. Augmented Reality: Re-imaging Public Space/Revitalizing Parks/ Making Parks / Geoparks and Geocaching
due April 7  (10 points)

 Fine Arts usage of augmented reality/ interactive print/augmented sculpture. Using augmented reality apps like LayAR https://www.layar.com/  and others we will experiment with ways we can use the technology for expression in public spaces


 
Grand Center, the Art and Life Alliance and MOMO, Re+Public has completed a digital, immersive, and interactive mural on the Moto Museum (Steve Smith, Owner) wall (85' x 21') in St. Louis @ Grand Center.http://www.republiclab.com/projects

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Week 12, 13  Assemblage, Stencil Art, or Projection  
due April 21 (6 points)

Chose one of the following: either Assemblage, Stencil Art, or Projection  

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Week 12, 13  Assemblage:
due April 21
using digital and/or analog techniques, found objects, textures, etc. for 1 expressive 3d mixed media
approximately 17”x 11” x 10”
Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: C:\Users\ruiz\Desktop\Advanced Digital Imaging\AdvancedDigitalImaging\cornellhoteleden.jpg
Joseph Cornell

Assemblage: a sculptural technique of organizing or composing into a unified whole a group of unrelated and often fragmentary or discarded objects.

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Week 12, 13  Stencil Art:
 due April 21

(Please be considerate and responsible by stenciling on approved surfaces only!)
Experiment with the techniques learned in studio create and create (1) stencil artwork that dialogs in site.
You can use either hand cutting techniques or laser cutting technique.

Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: 800px-Banksy_graffiti_removal
 
Graffiti depicting graffiti removal by Banksy. Created in May 2008 at Leake Street in London, painted over by August 2008

Hand Techniques
http://www.instructables.com/id/Creating-Complex-Spraypaint-Stencils-by-Hand/

Full-Color-Stencil-Art-with-Halftoning:
http://www.instructables.com/id/Full-Color-Stencil-Art-with-Halftoning/
Kyle McDonald : http://kylemcdonald.net/
http://vimeo.com/kylemcdonald

All work must be in exact and proper format before laser cutting:
Laser Cutting Technical Info
Laser Format Template

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Week 12, 13  Projection:
 due April 21
create 1 projection or 1 series of works for installation, or performance, or impact

Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: C:\Users\ruiz\Desktop\Advanced Digital Imaging\AdvancedDigitalImaging\escargot.jpg                
Marcel Duchamp  Rotoreliefs 1935                                                                                                    http://www.urbanscreen.com/

Reading:
Chrissie Iles: Between the Still and Moving Image
Lev Manovich: The Poetics of Augmented Space http://www.streamingmuseum.org/articles-and-essays/lev-manovich-the-poetics/

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Week 14, 15, 16.

Final Project
due May 19 (40 points) west hall 214, 10 am to 2pm

Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: Description: C:\Users\ruiz\Desktop\Advanced Digital Imaging\Etienne-Jules_Marey_Locomotion-vers-1870.jpg
ษtienne-Jules Marey

A large and challenging, well thought out, and technically perfected and installed final work.
This project should be about a topic of personal interest to you using the techniques, issues and ideas learned during the semester. 

Your inspirations, art historical referencing, philosophical influences, theoretical background, and technical documentation will be articulated in an artist statement properly cited and footnoted in The Chicago Manual of Style

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Web Portfolio & Documentation
due May 19
of all works in standalone format submitted on a thumb drive or dvd
before 2pm

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Class Schedule:

Week 1.  Jan 27  
Intro to the course
Review best works
Questionnaire of goals
In studio Expression from within:
Freeing up the digital artist: Emotion Drawings: Create a series of 7 drawings suggesting emotional states using either of the following techniques: digital drawing with stylus or traditional drawing scanned into digital space, or photographic drawing using time value exposure and gesture or any combination.
review of works and related artists in the field
Materials to bring to class: Please bring a sample of your best work,
traditional or digital drawing implements, and substrates, or cameras 

Week 2. Feb 3
Visual inspiration
In studio: Gesture Drawings from the live model
review of works and related artists in the field
Related readings and related artists in the field:  Gesture Drawing   hand out
Materials to bring to class:  traditional or digital drawing implements, and substrates, cameras 

Week 3. Feb 10
Expression from the  literary source and the imagination
Related readings:  Escape from Spiderhead by George Saunders
review of works in progress and related artists in the field
overview of the history of portraiture, review of Rembrandt, butterfly and edge lighting techniques

experiments with portraiture & lighting techniques short studio
In studio: Gesture Drawings and photographic portraiture from the live model
Materials to bring to class:  traditional or digital drawing implements, and substrates, or cameras, tripods, and any props or table top items for the request time

Week 4. Feb 17 Presidents’ Day Holiday
Related readings:  Barthes 15,16 and Barthes 46-48

Week 5. Feb 24  
overview and technique review of montage & collage
Related readings: Soslo Context, Cog., &  Art
Table Top Photography:
lighting techniques
EZ cube soft light tent
Toy Technique
3D Roundtable Photography
ECU Photography
printing techniques for the large format Epson 9000 Archival printer
In studio: table top photography set ups, lighting experiments in combination with montage & collage experiments
Materials to bring to class:
cameras, tripods, and any props or table top items
Critique of works in progress and related artists in the field

Week 6. March 3
In studio: table top photography set ups, lighting experiments
Photographic and other techniques of transient media
Landscape Photography
Related readings: Oliver Sacks SPEED
and Hito Steyerl In Defense of the Poor Image
Critique of works in progress  with reference to related artists in the field
Materials to bring to class:
cameras, tripods, small item that moves, and any props or table top items

Week 7. March 10
midterm assessment please have all perfected studies, reading reactions, and works in your folder in the class drop box
Related readings: Solso Visual Perspective
In studio: 
model will be available 4:15 to 7:45pm
experiment with Landscape Photography and the Body, and photographing transient bodies
Critique of works in progress with reference to related artists in the field
Materials to bring to class: cameras, tripods, and any props or table top items, ideas for working with the body as landscape

Week 8. March 17
Critiques of large format archival prints
In Studio: introduction to the augmented reality project:  Re-imaging Public Space/Revitalizing Parks/ Making Parks / Geoparks and Geocaching. Do fieldwork over the break, photograph your local park or public space, and imagine ways to enliven these spaces, take photographs and video of a few of these spaces and see which one speaks to you. Do research on augmented reality and preliminary experiments
Materials to bring to class: your 3 completed large format archival prints for critique (one on canvas), ideas about augmented reality
please note Joanne Farina, our archival printer tech will be out March 25 to April 8.

Week 9. March 24 Spring Break
Related readings:  Lev Manovich: The Poetics of Augmented Space and
Open source ImagePlot http://lab.softwarestudies.com/p/imageplot.html?m=1

Week 10. March 31 
In Studio: Augmented reality research review and experiments
Materials to bring to class: cameras, tripods, and any props or table top items

Week 11. April 7
Critiques of  Augmented Reality: Re-imaging Public Space/Revitalizing Parks/ Making Parks / Geoparks and Geocaching

Week 12. April 14
In studio: brief historical and technique review of assemblage, stencil and projection art
chose one and experiment.
Related Readings:
MoHoly-Nagy Contributions of Arts to Social Reconstruction
and Make a Light Modulator
or
Chrissy Isles:
Between the Still and Moving Image

Materials to bring to class:
for assemblage: objects, small box, images
for stencil: images and ideas (exactos, and cutting board if working  via hand)
for projection: data projectors, objects

Week 13. April 21
Critiques of experiments in either assemblage, stencil or projection art
review of the artist statement
individual meetings to discuss final project ideas
Materials to bring to class: experiments and ideas/materials for final projects

Week 14. April 28 Final Project Trajectory
Artist statements and works in progress informally reviewed
Related readings:  Personal research readings for preparing your artist statement and references
Intensive work studio

Week 15. May 5  Final Project Trajectory
Related readings:  Personal research readings
Intensive work studio
works in progress informally reviewed

Week 16.  May 19
Critiques of Final Projects
All perfected web portfolios due in West Hall 314c on May 14 by 2PM

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Learning Outcomes:
Upon successful completion of the course students will be able to:

1. demonstrate the ability to conceptualize, design, produce, and express ideas through one or more of the following: advanced gesture drawing, digital painting, montage/collage, digital photography, assemblage, high end archival digital printing, mid-range digital printing, augmented reality, stencil art, or projection projects as demonstrated through short study projects, final project and web portfolio documentation of all works.

2. develop art making strategies which merge concept, process and form - encouraging approaches that are at once inquisitive, analytical, creative, experimental and articulate.

3. examine the work of several artists, theoreticians, and institutions who engage in digital and physical art creation.

4. design and plan a detailed artist statement document which expounds upon individual concepts, processes, creative exploration, technical experimentation and references for the final project.

5. compare, contrast, describe and critique the strengths and weaknesses of their own artwork and that of their fellow classmates relating to formal, aesthetic, and content attributes.

6. successfully articulate informed, philosophically and socially aware ideas relating to art, technology, and culture as demonstrated in class discussions and critiques and in short written reaction papers to the relevant readings and events.

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Requirements and Suggestions

Evaluation

Students must demonstrate satisfactory achievement of course objectives through fulfillment of course projects and by contributing to class discussions and critiques.

Grading         

Experiments I: 9% short studies (3% each set of 7 studies x 3): emotion sketches, gesture drawings, mid-range digital prints = 9 points

Completed works: 20% (3 at 6.6 points each) large high end archival digital prints = 20 points

Augmented Reality Studies: 10% = 10 points

Experiments II
: 6% short study in one of the following: assemblage, stencil, or projection = 6 points

Final Project 40% = 40 points

Participation in class  10% = 10 points

Event & Reading reaction papers 5% = 5 points

Letter grade equivalents for the course are as follows:

A=4.0, 100 points A-=3.67, B+=3.33 B=3.0, B-= 2.67, C+= 2.33, C=2.0 C-= 1.67, D+=1.33, D=1.0,

F=0.0

If you are concerned about your creative trajectory or your grade at any point during the semester, please do not hesitate to contact your Instructor and schedule an appointment during office hours. You will have a midterm review where your current grade will be given to you.

Participation: you are invited, encouraged, and expected to engage actively in discussion, reflection and activities.

Class Attendance Policy

As an enrolled student, you have made a commitment to this class and your attendance is a significant part of that commitment. Attendance will be taken at every class. An absence is considered excused if the student has informed the course instructor by phone, email or in person before the beginning of the class and the excuse is considered reasonable by the instructor. All students are required to be on time and in attendance for each and every class. Students arriving to class more than 10 minutes late may be counted as absent.  Two (2) unexcused absences will result in a reduction of one entire letter grade. 

Adherence to deadlines is expected. It is the individual student's responsibility to keep track of deadlines and to present the work to the class and instructor on the specified dates. 15% per day will be subtracted from late assignments.

If a student needs an official excuse, please go to the Student Experience office – 4th floor of Academy Hall, x8022, se@rpi.edu

Academic Honesty
Statement On Academic Integrity

Class Specific

Collaboration and discussion about class projects is actively encouraged, and is in no way considered cheating. This is a studio course, and personal ownership of information is not deemed to be appropriate. Original works such as drawings, photographs, images, montage, collage, augmented reality, assemblage, projections, stencil art and final project art are required. If appropriated imagery is to sought to be used it must be expressly cleared by the professor first in a personal meeting where the appropriated imagery is shown and discussed. Projects are expected to reflect personal endeavor.

Academic Integrity

Student-teacher relationships are built on trust. For example, students must trust that teachers have made appropriate decisions about the structure and content of the courses they teach, and teachers must trust that the assignments that students turn in are their own. Acts, which violate this trust, undermine the educational process. The Rensselaer Handbook of Student Rights and Responsibilities defines various forms of Academic Dishonesty and you should make yourself familiar with these. In this class, all assignments that are turned in for a grade must represent the student’s own work. In cases where help was received, or teamwork was allowed, a notation on the assignment should indicate your collaboration. Submission of any assignment that is in violation of this policy will result in a penalty of a grade of F given for failure in the course and also further disciplinary action as outlined in the Handbook of Student Rights and Responsibilities.

Addressing Academic Dishonesty at Rensselaer Polytechnic Institute

Intellectual integrity is critical to the foundation of all academic work. Academic dishonesty, therefore, is considered a serious matter and will be addressed as such. As defined in the current Rensselaer Handbook of Student Rights and Responsibilities, examples of academic dishonesty include, but are not limited to: academic fraud, collaboration, copying, cribbing, fabrication, plagiarism, sabotage, and substitution. Additionally, attempts to commit academic dishonesty, or to assist in the commission or attempt of such an act, are also violations of the academic dishonesty policy. If found in violation of the academic dishonesty policy, students may be subject to two types of penalties. The instructor administers an academic (grade) penalty of F, and the student may also enter the Institute judicial process and be subject to such additional sanctions as: warning, probation, suspension, expulsion, and alternative actions as defined in the current Handbook of Student Rights and Responsibilities.

How to take the course (in a nutshell):

Show up prepared with all materials and supplies needed to work in studio. Attendance is mandatory every week. Do the work and the assignments. Do the readings and come prepared to ask questions. Turn work in on time. Contribute to the discussions. Check the course website for the latest information about assignments and activities.  

Electronic Communication

Email: All students are expected to have an active electronic mail account, and should check mail at least four times a week for class information. Some essential class information is communicated by email only.   

Work Habits

Always back-up your work frequently; that is, every time you make something you think is worth keeping.  Systems crash when least expected and you could lose all your work.   It is a good idea to make three backups (on different media), as storage media are sometimes unstable. Always save onto your own media or into your account as files left on hard drives will be removed.

Also, please keep in mind the highly addictive aspects of working with computers. Many people lose track of time and later wonder why they have severe back, neck and eye problems.  It is a good idea to take a rest every 15 to 20 minutes.  Look up or beyond your computer or, better still, at a long distance to relax your eyes.  Take a walk or stretch.  Fatigue can lead to frustration. Stay in touch with your body's needs.

Try not to harm or deface any equipment in any way or lose files and folders belonging to our class or other classes. 

For problems in the studio please be specific in your email and contact: http://helpdesk.hss.rpi.edu/pl/submit-service-request-ticket-system

Please follow the guidelines for working in each studio very carefully, as you will be held personally responsible for problems you incur. At all times please keep the lab clean after each use.

Reserve all gear beforehand at
http://www.arts.rpi.edu/pl/iear-studios-facilities/equipment-room

 

 

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