Portfolio of Student Work.

Vector Portrait M/W: Student Works.

2009-10-15T17:02:00.002-07:00

Vector Portrait T/R: Student Works.

2009-10-15T16:21:00.017-07:00

tyler mccall

wes humann

wes roemmich

stephen schmidt

sean maher

mariah leeskamp

kaytee herbst

holly gragg

nyssa peterson

emily moore

daniyll onufrishyn

cydney wilkes

cody moiseve

Photo Manipulation M/W: Student Works.

2009-10-15T15:50:00.013-07:00

thea hunt

lindsay giebler

lesley bannister

heidi kleder

caitlin cantrell

josh trujillo

benjamin feliciano

jill popp

elizabeth jonas

marina cardona

gabriel wam

LE's How to Use Dreamweaver Tutorial.

2009-04-06T12:22:00.001-07:00

How to Use Dreamweaver:

You can't use Dreamweaver until you have properly learned the song. Once you learn the song, then you sing the song while you are operating the program. If, for any reason, you forget the words to the song, immediately shut down the program, reopen it, and start again, remembering to sing the song all the time you have it open. If you loose your work, or if Dreamweaver crashes, lost work can be retrieved by singing the song backwards. If your links get broken, or are missing files, you can find files magically by singing the song while standing on your head and twirling your feet. good luck. LE

Instruction Videos

2009-03-27T07:47:00.002-07:00

here are some cool instruction videos you must see for a better understanding of both computer and the macintosh computer, specifically.

THE MAC KILLED MY INNER CHILD
http://www.youtube.com/watch?v=tOEKBC1JPz4

INTRODUCING THE BOOK
http://www.youtube.com/watch?v=xFAWR6hzZek

Raw Camera Information.

2009-03-09T09:34:00.002-07:00

What is Raw Camera file?
info from - http://www.northlightimages.co.uk/article_pages/why_use_raw.html#what_is_raw

Higher quality digital cameras often have a raw image format available in addition to the normal JPEG and TIFF.

Digital camera image sensors create an image from literally millions of tiny light sensing areas on a silicon chip. The image is built up from individual pixels.

Each light sensor is receptive to a broad range of colors and has a minute colored filter in front of it. There are usually three different colors (red, green and blue). Since we see green best the filters are in a particular pattern (one called a Bayer pattern is common) with more 'green' pixels.

Bayer pattern

The actual sensor can provide data at 12 to 14 bits per pixel (4096 to 16,384 levels of intensity) This is reduced to 8 bits per color in a JPEG file (24 bits total, 8 per color R,G and B). The complete unreduced data is stored in a raw format file.

The camera has a lot of other information available when a picture is taken. Along with the date and time it records shutter speed, aperture and its estimate of the white balance setting and other pertinent data. This is recorded with any picture.

To produce a JPEG or TIFF file, the computer inside the camera has to do quite a lot of calculations on the raw data to produce a picture file. These are carried out once, and the result is what you see when you open the file in a picture editor program. With a raw format file these calculations are not done and all of the original data is saved to the raw file.

How do you use raw files?

Camera manufacturers will provide special software to read and convert raw files. This is in effect using your computer to do the calculations that the camera would have done if you'd saved in JPEG.

Things such as sharpening, color settings and contrast all take place during the conversion. Sadly, most camera manufacturers are much better (it is hoped) at making cameras than writing software for you to use. This is where specialist conversion programs and plug-ins for popular image editing programs come in.

What are the advantages of raw format?

1. All your conversions are done on a fast powerful computer at your convenience.
2. Images can be 'fixed' in ways that would be very difficult without the raw sensor data.
3. You get the full range of data from the sensor.
4. Without sharpening or compression you have not 'lost' any data.
5. You can change your mind about some of the picture settings after you have taken it.

Is there a downside?

1. Raw files are bigger
2. JPEGs are quick and easy to use.
3. Special software is required to do the conversion.
4. Not all cameras support raw formats and may offer reduced functionality when using raw.

Making your own brushes in Photoshop.

2009-01-28T16:43:00.002-07:00

Here is a brief outline to follow up class demonstration.

Making your own brush in Photoshop.

Preparation of the image:

1. Pick your imagery from any visual source.
2. Keep your brush below 2500 pixels by 2500 pixels.
3. Make black imagery with white background (de-saturate).
4. Adjust your levels for high contrast.
5. Eliminate unnecessary space when selecting.

With your brush shape on the artboard in Photoshop and selected:

1. Edit/Define brush preset.
2. Use your brush from the brush palette.
3. Save your brush. Choose brush preset, click the right top arrow, choose save brushes.
4. When using the brush, choose colors to show brush colors, and choose brush settings for size, angle, etc. by opening window/brushes.

Photoshop Painting FD1010 C. Student Works.

2009-01-28T14:54:00.002-07:00

"Blue" Kathryn Standish

Di-Khiem Tran

Sara McGraw

Ashley Pettigrew

Noelle Nichols

Nick Miller

David Hanna

Brittany Lounsbury

Catherine Phanthamany

Photo Manipulation T/R: Student Works.

2009-01-21T18:22:00.021-07:00

wes humann

tyler mccall

stephen schmidt

sean maher

nyssa peterson

mariah leeskamp

Kaytee Herbst

holly gragg

emily moore

ethan barrett

daniyll onufrishyn

cydney wilkes

cody moiseve

wes roemmich

Communication of Absentees.

2008-08-26T20:25:00.003-07:00

Any student who is going to miss a class, is in route to class and does not make it, or has missed a class passed has the responsibility to contact me through email and/or cell phone. It is not my responsibility to contact you. Please be advised that lack of communication with your professor is a common cause of poor grades and could cause students to even fail a course. I check my email every day except Sunday, and even when my cell is turned off for class, I check for messages after the class. If you want me to call you back, please say so and I will respond as soon as I can.

Emergency Procedures at the Rocky Mountain College of Art and Design.

2008-07-11T06:57:00.001-07:00

Emergency Procedures.

If there is a life-threatening emergency, the instructor or a student should call 911 directly, and then notify the Texas front desk. It is not necessary to notify the Texas front desk prior to calling 911.

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Course Objectives for Digital Image Making.

2008-07-10T08:46:00.003-07:00

Course Goals (basic learning expectations):

Students will learn to use the computer as a tool for image making and image manipulation.
Students will learn the use of scanning, digital photographs, etc.
Students will use the Elements of Art and Principles of Design to make digital images.
Students will be expected to show skill with the programs described in the course description.

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Report Guidelines for Digital Image Making.

2008-07-10T08:23:00.005-07:00

Here are a variety of helps and tips to aid you in writing about art and artists. The Library at RMCAD has a great deal of helps and tips online at their main page. Visit that page for more helps and tips.

At the library web site, click on Categories, and under that tab you will find alphabetically arranged topics. Some helpful topics are 1. Writing Guide links, 2. Citations Research links, and 3. Info. Lit. Research links.

Following is a set of guidelines that I have paraphrased from the book, "Writing about art," second edition, by Henry M. Sayre. Please read the book for more guidance, as this is just a summary. The book is in the library at RMCAD.

Ways to think about approach to your writing:

1. Sociological: the writing is about people and their surroundings, their relationships to each other, how their work is affected by their economical, political, and religious status. When you write about art and/or artists, this type of writing is about relationships and how they affect the art, or about how the art affects the world around it.

2. Biographical: the writing is a chronology of the artist and his/her work, and how it all progresses throughout the life of the artist.

3. Iconographical: the writing is about the art and its symbolic content or meaning.

4. Formal analysis: the writing is about the formal aspects of the art - the elements of art, the principles of design, color relationships, compositional elements, etc.

Analysis: a separating into parts in order to understand the whole.

Subject matter versus content and meaning (look at the definitions of the words in our blog design vocabulary section).

Ask these questions of the work:
1. What is my response to the work?
2. When and where was the work made?
3.Under what circumstances would the work originally have been seen?
4. What purpose did the work serve?
5.What is the title of the work?
6. In what condition has the work survived?

Formal analysis of a work of art: "a formal analysis of a work of art is analysis of the form the artist produces, that is, an analysis of the work of art, which is made up of such things as line, shape, color, texture." (page 50)

Note: feelings and opinions should always be based on fact and evidence when possible. Many people critique artwork and have certain feelings about the art without knowing why they like or do not like the work. There is nothing wrong with that, but as a college student building a vocabulary and belief system about art, you should be challenging yourself fresh every day to be a professional.

Consider comparison/contrasting artists and/or art. For example, how does a watercolor painter today compare and contrast with Dutch painters?

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Academic Integrity Policy at the Rocky Mountain College of Art and Design.

2008-07-10T07:10:00.004-07:00

Rocky Mountain College of Art and Design is committed to academic integrity. Academic dishonesty includes cheating, plagiarism, theft, alteration or falsification of academic records or violation of any college, state, or federal laws or policies.

To commit or assist someone in committing academic dishonesty is grounds for disciplinary action and possible suspension or expulsion from the college. Students who observe or become aware of apparent academic dishonesty should report the matter to faculty or administration.

Plagiarism is a form of cheating. To plagiarize is "to steal and pass off the ideas or words of another as one's own, use a created production without crediting the source, commit literary theft, or present as new and original an idea or product derived from an existing source" (Merriam-Webster's College Dictionary, Tenth Edition, Springfield, MA: Merriam Webster, Inc. 1993). Plagiarism is intellectual theft, a serious academic offense with serious consequences to be determined by the instructor and Department Chair.

1. Unintentional plagiarism can occur if you mistakenly forget to identify the author and source of another's words or ideas, and may result in an "F" for that particular assignment.

2. Intentional plagiarism or academic dishonesty of an sort may result in an "F" for that particular assignment.

3. The second instance of intentional academic dishonesty may result in expulsion from the College.

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Post a Report.

2008-07-10T07:10:00.003-07:00

Please post your report for digital image making class here. When posting required reports with deadlines, always close out the report and then go back into the blog to make sure you posted. If you feel unsure about posting, you can type your report in Microsoft Word, select all, then paste into the post.

Be advised that due dates have been given for reports assigned in class. Your post will give me your posting date and time information by default. If you have posted your report late, each week (Mon.-Fri.) will count 1/2 grade off from the grade deserved. All reports will be due by Friday at midnight (12:00 a.m.) of the week of the due date. After that due date, they will be late. The Friday after that due date will be the new posting deadline, and so forth.

See Report Guidelines for writing your report. Use MLA for the style.

REPORT # 1: RESEARCH AND REPORT ON A DIGITAL ARTIST WHO WORKS EXCLUSIVELY WITH PHOTOSHOP. POST A 500 WORD REPORT ON THIS ARTIST.
DUE/SEPTEMBER 26, FRIDAY, BY MIDNIGHT.

REPORT # 2: RESEARCH AND REPORT ON A DIGITAL ARTIST WHO WORKS EXCLUSIVELY WITH BLACK AND WHITE DIGITAL PHOTOGRAPHY. POST A 500 WORD REPORT ON THIS ARTIST.
DUE/NOVEMBER 28, FRIDAY, BY MIDNIGHT.

REPORT # 3: REPORT ON A VISITING ARTIST AT RMCAD, ARTIST AT A FIRST FRIDAY OPENING GALLERY EXHIBIT, OR FACULTY AT RMCAD WHO USES DIGITAL RESOURCES TO CREATE THEIR ARTWORK. POST A 500 WORD REPORT ON THIS ARTIST.
DUE/DECEMBER 19, FRIDAY, BY MIDNIGHT.

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The CMYK Process for Printing Images.

2008-07-08T15:53:00.002-07:00

Source Information:
the following information is from http://en.wikipedia.org/wiki/CMYK_color_model.

THE CMYK PROCESS FOR PRINTING IMAGES.

CMYK: (short for cyan, magenta, yellow, and key (black), and often referred to as process color or four color) is a subtractive color model, used in color printing, also used to describe the printing process itself. Though it varies by print house, press operator, press manufacturer and press run, ink is typically applied in the order of the abbreviation.

The CMYK model works by partially or entirely masking certain colors on the typically white background (that is, absorbing particular wavelengths of light). Such a model is called subtractive because inks “subtract” brightness from white.

HALFTONE

With CMYK printing, halftoning (also called screening) allows for less than full saturation of the primary colors; tiny dots of each primary color are printed in a pattern small enough that humans perceive a single color. Magenta printed with a 20% halftone, for example, produces a pink color, because the eye perceives the tiny magenta dots and the white paper between the dots as lighter and less saturated than the color of pure magenta ink.

Without halftoning, the three primary process colors could be printed only as solid blocks of color, and therefore could produce only six colors: the three primaries themselves, plus three complementary colors produced by layering two of the primaries—cyan and yellow produce green; cyan and magenta produce a purplish blue; yellow and magenta produce red (these subtractive complementary colors correspond roughly to the additive primary colors). With halftoning, a full continuous range of colors can be produced.

SCREEN ANGLE

To improve print quality and reduce moiré patterns, the screens for individual colors are set at unique angles. While the specific angles depend on how many colors are used and the preference of the press operator, typical CMYK process printing uses any of the following screen angles:

C 75˚/15˚/105˚

M 15˚/45˚/75˚

Y 0˚/0˚/90˚

K 45˚/75˚/15˚

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Using the Principles of Design for Digital Image Making.

2008-07-08T15:35:00.001-07:00

Under construction.

The following information is a summary from "Launching the Imagination," by Mary Stewart. Using the principles of design when creating a digital image can aid you to make a great composition. Formal elements of art and principles of design are necessary tools for any artist, inclusive of artists who work digitally.

...the means by which visual elements are organized into a unified and expressive arrangement.

Unity:

Variety:

Balance:

Scale:

Proportion:

Rhythm:

Illusion of space (two-dimensional design):

Illusion of movement (two-dimensional design):

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Gestalt Psychology for Digital Image Making.

2008-07-08T13:38:00.001-07:00

Using Gestalt psychology in your Digital Art. The following information is summarized from "Launching the Imagination," by Mary Stewart.

This is a theory of visual perception that emphasizes the importance of holistic composition.

According to this theory, there are six ways to unify visual elements in a composition:

1. grouping
visual organization based on similarity in location, orientation, shape, color, and so on.
2. containment
a unifying force created by the outer edge of a composition or by a boundary within a composition.
3. repetition
the use of the same visual element or effect a number of times in the same composition.
4. proximity
the distance between visual or structural elements or between an object and the audience.
5. continuity
degree of connection or flow among compositional parts.
6. closure
the mind's inclination to connect fragmentary information to produce a completed form.

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Using Convergent Thinking in your Digital Image Making Project.

2008-07-08T07:42:00.001-07:00

Using Convergent Thinking. The following information is summarized from "Launching the Imagination," by Mary Stewart.

Convergent thinking is a problem-solving strategy in which a predetermined goal is pursued in a linear progression using a highly focused problem-solving process.

Six steps are commonly used:

1. Define the problem: a. manipulation of photography as a whole composition, b. placement of imagery from top to bottom, side to side, c. color combinations.

2. Do research. Choose a unifying subject (that does not mean it can't be contrasted ideas).

3. Determine your objective. Start scanning in the images, getting them from the camera, and set goals with the images in front of you (strongest images you want to use the most, interesting textures you will use throughout the image, what your final desired outcome might be).

4. Devise a strategy. Place the imagery into layers as you will need to work on them. Set your Photoshop document up in a way that all of the information is in one Photoshop file.

5. Execute the strategy. Work on the images with the manipulation tools in Photoshop until the images become a final work of unified art. No cut and paste imagery areas should show up. Edges should make sense.

6. Evaluate the results. Did your work on the images unify the final composition? Are your color combinations resulting from the plug and play images or did you manipulate color to make it work for the final composition? Does the work have a harmonious content strength? Is your overall composition one that follows the elements of art and principles of design (see section on these two subjects to compare your work to the formal ideas).

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Design Vocabulary.

2008-07-07T21:19:00.001-07:00

Below, you will find the vocabulary necessary to build a good critique. It is from the Visual Design I course text, "Launching the Imagination," second edition, pages 377-385, authored by Mary Stewart.

Please feel free to post a request for further clarification when you need it, or see me in class and ask me then.

A ---------

Abstract form: 1. a form derived from visual reality that has been distilled or transformed, reducing its resemblance to the original source. 2. a multiple image structure, such as a film, in which the parts are related to each other through repetition and visual characteristics, such as shape, color, scale or direction of movement.

Abstract shape: a shape that is derived from a visual source, but is so transformed that it bears little visual resemblance to that source.

Abstraction: the reduction of an image or object to an essential aspect of its form or concept.

Accent: a specific shape, volume, color, musical note, etc. that has been emphasized. Using an accent, a designer can bring attention to part of a composition and increase rhythmic variation within a pattern.

Accent color: a color that stands out from its surroundings. Often used to attract attention to a specific part of a design.

Achromatic color: a color (such as black and white) that has no hue.

Act: a major division in a film or theatrical event. Acts are generally constructed from a group of sequences that increase in intensity.

Action-to-action transition: in comic books, the juxtaposition of two or more panels showing a sequence of actions.

Actual lines: lines which are physically present in a design.

Actual motion: motion that physically occurs in a design.

Actual time: the duration of an actual temporal event. For example, it takes less than a minute for the bowling ball to roll down the ramps in Jean Tinguley's Chaos 1.

Additive color: color created by combining projected beams of chromatic light. The additive color primaries are red, green and blue and the secondaries are cyan, magenta, and yellow.

Additive sculpture: a physical object constructed from separate parts that have been connected using glues, joints, stitching, welds and so on.

Aesthetics: the study of human responses to art and beauty.

Afterimage: in color theory, a ghostly image that continues to linger after the actual image has been removed.

Ambient light: the quality of light within an entire space or setting. For example, when we enter an open courtyard on a sunny summer afternoon, we are surrounded by warm ambient sunlight. Everything we see is colorful and bright.

Amplified perspective: the exaggerated use of linear perspective to achieve a dramatic and engaging presentation of the subject. Amplified perspective is often created using an unusual viewing position, such as a bird's eye view, accelerated convergence, or some form of distortion.

Analogy: a similarity or connection between things which are apparently separate and dissimilar. For example, when a teacher describes wet plaster as having the "consistency of cream," she is using an analogy.

Analogous color: a color scheme based on hues that are adjacent on a color wheel, such as red, red-orange and orange.

Anesthetic: a chemical or action used to induce insensitivity or unconsciousness.

Anomaly: an obvious break from norm in a design.

Approximate symmetry: a form of balance that occurs when roughly similar imagery appears on either side of a central axis.

Aspect-to-aspect transition: in comic books, the juxtaposition of two or more panels showing different views of a single setting or event. This transition is often used in Japanese comic books.

Armature: an internal structure created to strengthen and support a three-dimensional object.

Assemblage: an additive method in which the artist or designer constructs the artwork using objects and images which were originally created for another purpose. Essentially, assemblage can be defined as three-dimensional collage.

Asymmetrical balance: equilibrium among visual elements that do not mirror each other on either side of an axis.

Atmospheric perspective: a visual phenomenon in which the atmospheric density progressively increases, hazing over the perceived world as one looks into its depth. Overall definition lessens, details fade, contrasts become muted and, in a landscape, a blue mist descends.

Attached shadow: a shadow that directly defines a form.

B ---------

Backlight: a light source positioned behind a person or object that can either create a silhouette or separate the person or object from the background.

Balance: the equal distribution of weight or force among visual units.

Base: a horizontal support for a physical object, such as a stone block supporting a bronze sculpture.

Beat: 1. a unit of musical rhythm which creates the pulse of a sound, 2. in acting, the most basic element in a story. A beat is an exchange of behavior, based on action and reaction.

Bend: one of the five major forces affecting structural strength.

Bezold effect: a change in a single color that substantially alters our perception of the entire composition.

Boundary: the dividing line or edge between objects, images, or experiences.

Brainstorming: any of a number of problem solving techniques which are designed to expand ideas and encourage creativity. List making, mapping, associative thinking, and metaphorical thinking are common strategies used.

C ---------

Calligraphic line: derived from the Greek words for beautiful and writing, a flowing, and expressive line that is as personal as handwriting. Calligraphic lines generally vary in thickness and velocity.

Camera angle: the angle at which an object or event is viewed. An aerial view can provide the sweeping panorama needed to convey the enormity of a battle, while a low camera angle can provide an expansive view of the sky.

Carving: the removal of materials from a larger mass, gradually revealing an image or object. Carving is a subtractive process.

Cast shadow: a dark shape that results from placement of an opaque object in the path of a light source.

Causality: the interrelation of cause and effect, based on the premise that nothing occurs without cause. Narrative film is based on causality: because the starting pistol was shot, the footrace began.

Cause/effect critique: a critique in which the viewer seeks to determine the cause for each visual or emotional effect in a design. For example, the dynamism in a design may be caused by the diagonal lines and asymmetrical balance used. Also known as formal analysis.

Categorical form: in film, a multiple image structure that is based on categories, or subsets of a topic. For example, a film on predators might begin with a discussion of wolves, then move on to lions, and conclude with a discussion of hawks.

Centricity: as identified by Rudolph Arnheim, a compressive compositional force.

Characteristic texture: the inherent or familiar texture of a material. The gleaming reflective surface of a steel teapot, the transparent and reflective qualities of glass, and the gritty texture of clay are all characteristic textures.

Chiaroscuro: (from Italian meaning "light-dark"). The gradual transition of values to create the illusion of light and shadow on a three-dimensional form.

Chroma: the purity, intensity, or saturation of a color.

Chromatic gray: a gray made from a mixture of various hues, rather than a simple blend of black and white.

Chronology: the order in which events occur.

Cliche': an overused expression or a predictable visual treatment of an idea.

Close-up: in film, a type of framing in which the scale of the object shown is relatively large, as in a close-up of an actor's face.

Closure: the mind's inclination to connect fragmentary information to produce a completed form. Closure is an essential aspect of Gestalt psychology.

Collage: an image constructed from visual or verbal fragments initially designed for another purpose.

Color harmony: use of compatible colors to help unify a composition.

Color interaction: the way colors within a composition influence one another.

Color key: a color that dominates an image and heightens its psychological and compositional impact.

Color overtone: a secondary hue "bias" in a primary color. For example, alizarin crimson is a red with violet overtones, while scarlet is a red with orange overtones.

Color theory: the art and science of color interaction and effects.

Compare/contrast critique: a critique in which similarities and differences between two designs are analyzed. Often used in art history classes to demonstrate differences in approach between artists.

Comparison: recognition of similarity in two or more compositions. Often used in art history to demonstrate connections between images done by different artist or in different periods.

Complementary color: hues that oppose one another on a color wheel. When paired in a composition, complementary colors create contrast; when mixed, complementary color produce a wide range of browns.

Composite: a new material created when two or more materials of differing strengths are fused together. Examples include fiberglas and formcore.

Composition: the combination of multiple parts into a unified or harmonious whole.

Compression: the forcing or crushing of material into a smaller, denser condition and its visual dynamics and implied psychological effects.

Condensation: to be reduced to a denser form, as with the transition from a vapor to a liquid.

Cone of vision: in perspective drawing, a hypothetical cone of perception originating at the eye of the artist and expanding outward to include whatever he or she wishes to record in an illusionistic image, such as a perspective drawing. The cone's maximum scoping angle is 45-60 degrees anything outside of the cone of vision is subject to distortion.

Contact: the meeting point between visual or structural elements in a design.

Containment: a unifying force created by the outer edge of a composition or by a boundary within a composition.

Content: the emotional and/or intellectual meaning or message of an artwork.

Continuity: degree of connection or flow among compositional parts.

Contradictory texture: the unfamiliar use of a texture or the addition of an unusual texture to the surface of an object.

Contrast: the degree of difference between compositional parts or between one image and another. Contrast is created when two or more forces operate in opposition.

Contrasting colors: colors that are substantially different in hue, value, intensity or temperature.

Contour line: a line that describes the edges of a form and suggests three-dimensional volume.

Convergent thinking: a problem-solving strategy in which a predetermined goal is pursued in a linear progression using a highly focused problem-solving process. Six steps are commonly used: 1. define the problem, 2. do research, 3. determine your objective, 4. devise a strategy, 5. execute the strategy, 6.evaluate the results.

Critique: any means by which the strengths and weaknesses of design are analyzed.

Cropping: the manner in which a section of an image or a fragment of observed reality has been framed. For example, photographers select a fragment of reality every time they look through the view finder of the camera. Part of the scene is included, while the remainder is cut away. Photographs are often cropped further in the darkroom leaving only the most significant information.

Cross contour: multiple lines running over the surface of an object horizontally and/or vertically which describe its surface configuration topographically, as in mapping. This process is much like wire-framing in three-dimensional computer modeling. Cross contours can also be used in drawing to suggest three-dimensional form through tonal variation.

Cross-hatching: a technique used in drawing and printmaking to shade an object using two or more networks of parallel lines. Darker values are created as the number of networks increases.

Crosscut: in film, an abrupt alternation between two or more lines of action.

Curvilinear shape: a shape whose contour is dominated by curves and flowing lines.

Cut: in film, the immediate change from one shot or frame to another.

D ---------

Definition: 1. the degree to which a shape is distinguished from both the ground area and from other shapes within the design. 2. the degree of resolution or focus of an entire image. Sharply defined shapes tend to advance while blurred shapes tend to recede.

Denouement: the outcome, solution or point of clarification in a story.

Density: the extent to which compositional parts are spread out or crowded together. Visual connections generally occur easily in high-density compositions, while visual connections may be less obvious in low-density compositions.

Depth of field: the range of focus in a photographic image, from foreground to background. In a photograph with great depth of field, an object that is fifteen feet from the camera is in focus, as well as an object that is ten feet from the camera.

Descriptive shape: a shape that is derived from specific subject matter and strongly based on perceptual reality.

Diegesis: the world created in a film or video.

Descriptive critique: a critique in which the viewer carefully describes what he or she sees when observing a design.

Directed light: localized and focused light, such as a spotlight on a singer.

Direction: actual or implied movement of an element within a design.

Displacement: a forming method in which a solid material is physically forced into a new configuration. The stamping process used to mint coins is an example of displacement.

Dissolve: a transition between two shots during which the first image gradually disappears while the second image gradually appears.

Dissonance: the absence of harmony in a composition. Often created using disharmonious colors, shapes, textures or sounds.

Distribution: the manner in which colors, shapes or other visual elements are arranged within the format.

Divergent thinking: an open-ended problem-solving strategy. Starting with a broad theme, the artist or designer expands ideas in all directions.

Dominance: the principle of composition in which certain elements assume greater importance than others Also see emphasis.

Duration: 1. the length of time required for the completion of an event; as in the running time of a film, video, or performance. 2. the running time of events depicted in the story (plot duration), 3. the overall span of time the story encompasses (story duration).

Dynamic: energetic. vigorous, forceful; creating or suggesting change or motion.

Dynamic form: a form that implies change.

E ---------

Earthwork: commonly, an artwork that has been created through the transformation of a natural site into an aesthetic statement.

Eccentricity: as identified by Rudolph Arnheim, an expansive compositional force.

Economy: distillation of a design down to the essentials in order to increase impact.

Editing: in film, selecting and sequencing the details of an event to create a cohesive whole.

Elements of design: basic building blocks from which designs are made. For example the essential elements of two-dimensional design are line, shape, texture, color, and value.

Environmental work (or environment): an artwork that must be entered physically. Installations, (which are usually presented indoors) and earthworks (which are usually presented outdoors) are two major types of environmental works.

Emotional advertising: use of emotion to sell a service, product, or idea. This strategy is often used when a product is neither unique nor demonstrably better than a competing product.

Elevation: in orthographic projection, the front, back and side views of an object or architectural structure.

Emphasis: special attention given to some aspect of a composition to increase its prominence.

Exaggerated advertising: pushing an idea to an extreme to make a point.

Exoskeleton: an external support structure.

Expansion: the extending outward of materials to fill more space.

Eye level or eye line: in linear perspective, the eye level is determined by the physical position of the artist. Sitting on the floor creates a low eye level while standing at an easel creates a higher eye level. Also known as the horizon line. All vanishing points in one and two point perspective are positioned on the eye level.

F ---------

Fade: a gradual transition use in film and video. 1. In a fade-in, a dark screen gradually brightens as a shot appears. 2. In a fade-out, the shot gradually darkens as the screen goes black.

Fidelity: the degree of connection between a sound and its source. For example, when we hear the sound of a helicopter and see a helicopter on the screen, the sound matches with image, creating tight fidelity.

Figure: the primary or positive shape in a design; a shape which is noticeably separated from the background. The figure is the dominant shape in a figure-ground relationship.

Figure/ground reversal: an arrangement in which positive and negative shapes alternatively command attention.

Fill light: a diffused light used to lower the contrast between light and dark areas in cinematic and theatrical lighting.

Filtration: the process of separating a solid from a liquid by passing it through a porous substance such as cloth, charcoal or sand.

Flashback: in film, an alternation in chronology in which events that occur later in a story are shown first.

Floodlight: a softly defined light with a broad beam.

Flying buttress: a type of exoskeleton commonly used by medieval architects in creating cathedrals.

Focal point: primary point of interest in a composition. A focal point is often used to emphasize an area of particular importance or to provide a strong sense of compositional direction.

Format: the outer edge or boundary of a design.

Form: 1. the physical manifestation of an idea, as opposed to the content, which refers to the idea itself. 2. the organization or arrangement of visual elements to create a unified design. 3. a three-dimensional composition or unit within a three-dimensional composition. For example, a sphere, cube and pyramid are all three-dimensional forms.

Formalism: an approach to art and design that emphasizes the beauty of line, shape, texture, etc. as ends in themselves rather than as means to express content. Strictly formalist works have no explicit subject matter.

Fractured space: discontinuous space that is created when multiple viewpoints are combined within a single image.

Frame: a single static image in film or video.

Freestanding work: an artwork that is self-supporting and is designed to be viewed from all sides. Also called "in the round."

Function: the purpose of a design or the objective which motivates the designer. For an industrial designer, the primary purpose of a design is often utilitarian. For example, he or she may be required to design a more fuel-efficient automobile. For a sculptor, the primary purpose of a design is aesthetic: he or she seeks to create an artwork that engages the viewer emotionally and intellectually.

Fusion: the combination of shapes or volumes along a common edge.

G ---------

Geometric form: a three-dimensional form derived from or suggestive of geometry. Example include cubes, spheres, tetrahedrons, etc.

Geometric shape: a shape derived from or suggestive of geometry. Geometric shapes are characterized by crisp, precise edges and mathematically consistent curves.

Gestalt psychology: a theory of visual perception that emphasizes the importance of holistic composition. According to this theory, grouping, containment, repetition, proximity, continuity, and closure are essential aspects of visual unity.

Gesture drawing: a vigorous drawing that captures the action, structure and overall orientation of an object, rather than describing specific details. Often used as a basis for figure drawing.

Gloss: 1. in writing, words of explanation or translation inserted into a text. 2. a secondary text within a manuscript that provides comments on the main text.

Gradation: any gradual transition from one color to another or from one shape or volume to another. In drawing, shading created through the gradation of grays can be used to suggest three-dimensional form.

Graphic relationship: the juxtaposition of two or more separate images that are compositionally similar. For example, if a basketball is shown in the first panel, an aerial view of the round free-throw zone is shown in the second, and the hoop of the basket itself is shown in the third, a graphic relationship based on circles has been created.

Gravity: the force that tends to pull all bodies toward the center of the Earth. Three-dimensional works tend to show a gravity feeling.

Grid: a visual or physical structure created from intersecting parallel lines.

Grisaille: a gray underpainting, often used by Renaissance artists, to increase the illusion of space.

Group: in sequential structure, a collection of images that are related by subject matter, composition, or source. For example the trombone, trumpet and tuba are all members of the group known as the brass section in an orchestra.

Grouping: visual organization based on similarity in location, orientation, shape, color and so on.

Gutter: in bookbinding, the center line of a book, where the two pages are joined.

H ---------

Happening: an assemblage of improvised, spontaneous events performed by the artist and audience alike, based on a general theme. There is no rehearsal and any location, from a parking lot to a factory interior can be used. The Happening is most commonly associated with Alan Kaprow and is a precursor to Performance Art.

Hard sell advertising: an advertising approach in which a major point is presented in a clear, direct manner. The narrative is usually linear, and the message is usually explicit.

Harmony: a pleasing or soothing relationship among colors, shapes, or other design elements.

Hatching: a technique used in drawing and printmaking to create a range of gray tones using multiple parallel lines.

High definition: sharply focused visual information that is easily readable. High definition creates strong contrast between shapes and tends to increase clarity and immediacy of communication.

Horizon line: in linear perspective, the line on which all vanishing points are positioned. More accurately describe as the eye line or eye level.

Hue: the name of a color (such as red or yellow) that distinguishes it from others and assigns it a position in the visual spectrum.

Human scale: a design that is roughly our size.

Humorous advertising: use of humor to sell a service, product, or idea. By entertaining the viewer, the designer can make the message more memorable.

I ---------

Iconography: the study of symbolic visual systems.

Illusionary space: the representation of an object or scene on a two-dimensional surface so as to give it the appearance of three-dimensionality.

Imbalance: the absence of balance.

Implied line: 1. a line that is suggested by the positions of shapes or objects within a design. 2. a line that is suggested by movement or by a gesture rather than being physically drawn or constructed.

Implied motion: the suggested change in location of a figure or object.

Implied time: the suggested location or duration of an event.

Installation: an artwork or a design that presents an ensemble of images and objects within a three-dimensional environment.

Intensity: 1. the purity, saturation, or chroma of a color. For example, fire engine red is a high intensity color, while brick red is a low intensity color. 2. in time design, the power, concentration and energy with which an action is performed or the quality of observation of an event.

Interdisciplinary art: the combination of two or more different disciplines to create a hybrid artform.

Interdisciplinary thinking: use of skills and knowledge from more than one discipline.

In the round: a three-dimensional object that is self-supporting and is designed to be viewed from all sides, as in free-standing sculpture.

Invented texture: a form of visual texture that has been created without reference to perceptual reality.

J ---------

Joint: a physical connection between elements or parts in a three-dimensional object. Some joints are fixed, such as ones that are bolted together, while others can me moved, as with a hinge or a ball and socket joint.

Junction: 1. the place at which object or events meet. 2. a physical intersection between elements or parts in a three-dimensional object.

K ---------

Key light: a primary source of illumination.

Kinetic form: a form that actually moves.

Kinesthetics: the science of movement.

L ---------

Lap dissolve: in film, a dissolve in which two shots are temporarily superimposed.

Layed space: compositional space that has been deliberately separated into foreground, middle ground and background.

Line: 1. a point in motion, 2. a series of adjacent points, 3. a connection between points, 4. an implied connection between points. Line is one of the basic elements of design.

Line weight: variation in line thicknesses.

Linear perspective: a mathematical system for projecting the apparent dimensions of a three-dimensional object onto a flat surface. Developed by artists during the Renaissance, linear perspective is one strategy for creating the illusion of space.

Long shot: in film, a type of framing in which the scale of the subject shown is relatively small, as with an image of a human figure within a landscape.

Loudness: the amplitude of a sound wave; the volume of a sound.

Low definition: blurred or ambiguous visual information. Low definition shapes can increase the complexity of the design and encourage multiple interpretations.

M ---------

Maquette: a well developed three-dimensional sketch, comparable to a two-dimensional thumbnail sketch.

Matrix: a three-dimensional grid.

Mass: a solid three-dimensional form.

Medium shot: a type of framing in which the scale of the subject shown is of moderate size, as in view of an actor from the waist up.

Meter: the basic pattern of sound and silence in music or positive and negative in design.

Metaphor: a figure of speech in which one thing is directly linked to another dissimilar thing. Through this connection, the original word is given the qualities of the linked work. For example, when we say "she's a diamond in the rough" we attribute to a woman the qualities of an unpolished gem.

Metaphorical thinking: the use of metaphors or analogies to create visual or verbal bridges.

Model: in three-dimensional design, a model is a technical experiment or a small-scale version of a larger design.

Modeling: the process of manipulating a pliable material (such as clay) to create a three-dimensional object.

Moment-to-moment transition: in comic books, a transition in which a character or situation is simply being observed over time. This transition is often used in Japanese comic books but rarely in American comic books.

Monochromatic color scheme: a color scheme based on variations in a single hue. For example, a light, pastel blue, a medium navy blue and a dark blue-black may be used in a room interior.

Monumental objects: objects that are much larger than humans.

Movement: in design, the use of deliberate visual pathways to help direct the viewer's attention to areas of particular interest.

Myth: a traditional story collectively composed by many members of a society. The creation of the world, sources of evil, the power of knowledge and even the nature of reality may be explained through these grand expressions of the imagination.

N ---------

Negative shape (or space): 1. a clearly defined area around a positive shape or form 2. a shape created through the absence of an object rather than through the presence of an object.

Non-objective shape: shapes created without reference to specific visual subject matter.

Non-sequitur transition: the juxtaposition of multiple frames or shots that have no obvious conceptual relationship.

O ---------

Objective criticism: the assessment of strengths and weakness in a design solely based on the visual information presented.

One-point perspective: a form of linear perspective in which the lines receding into space converge at a single vanishing point of the eye level or horizon line.

Opponent theory: an explanation for the electric glow that occurs when two complementary colors are placed side by side.

Orientation: the horizontal, vertical, or diagonal position of a composition or design element.

Organic shape: a shape that visually suggests nature or natural forces. Also known as biomorphic shape.

Organizational lines: lines used to create the loose linear "skeleton" on which a composition can be built. Also known as structural lines.

Orthographic projection: a drawing system widely used by artist and designers to delineate the top, bottom and four side views of a three-dimensional object. Unlike perspective drawing, which is designed to create the illusion of space, an orthographic projection is constructed using parallel lines that accurately delineate six surfaces of an object.

Overlap: placement of one shape in front of another to create the illusion of space.

Oxidation: a common form of chemical change used in creating a patina (or colored surface) on a metal sculpture.

P ---------

Panel: a single frame in a comic book.

Pattern: a design created through systematic repetition. Many patterns are based on a module, or repeated visual unit.

Pedestal: a vertical support for a sculptural object.

Performance art: a live presentation, often including the artist, usually combining elements from a variety of art forms, such as a film, video, theater and dance.

Permanence: the degree of durability, or resistance to decay, in a given material or design.

Physical texture: actual variation in a surface.

Picture plane: in linear perspective, the flat surface on which a three-dimensional image is mentally projected.

Pitch: in music, the relative highness or lowness of a sound. Pitch is determined by wave frequency, as compression and expansion occurs within the sound wave.

Plane: a three-dimensional form that has length and width but minimal thickness.

Plan view: the top view of a three-dimensional object or architectural structure, drawn orthographically or freehand.

Plinth: horizontal support for a sculptural object.

Plot duration: the running time of the events depicted in a story.

Polyhedra (or polyhedrons): multi-faceted volumes.

Positive form: an area of physical substance in a three-dimensional design.

Positive shape: the principle or foreground shape in a design and the dominant shape or figure in a figure-ground relationship.

Primary colors: colors from which virtually all other colors can be mixed. The additive (or light) color primaries are red, green and blue. The subtractive (or pigment) color primaries are yellow, magenta red and cyan blue.

Primary contour: the defining edges of a physical object, such as the extremities of a carved sculpture.

Principles of design: the means by which visual elements are organized into a unified and expressive arrangement. Unity and variety, balance, scale and proportion, rhythm, illusion of space and illusion of movement are commonly cited as the principles of two-dimensional design.

Proportion: the relative size of visual elements within an image.

Prototype: a well-developed model, as with the fully-functional prototype cars developed by automobile companies.

Proximity: the distance between visual or structural elements or between an object and the audience.

Pure forms: circles, spheres, triangles, cubes and other forms created without reference to specific subject matter.

R ---------

Radial symmetry: a form of balance that is created when shapes or volumes are mirrored both vertically and horizontally, with the center of the composition acting as a focal point.

Rational advertising: a type of advertising in which logic and comparisons of quality are used to sell a service, product, or idea. A rational approach is most effective when the message is compelling in itself or the product is truly unique.

Realistic advertising: use of a familiar setting or situation to involve the viewer and relate a product, service, or idea to use in everyday life.

Rectilinear shape: a shape composed from straight lines and angular corners.

Refracted light: light that has been bent as it passes through a prism.

Relief: Sculpture in which forms project out from a flat surface. The degree of projection ranges from low to high relief.

Repetition: the use of the same visual element or effect a number of times in the same composition.

Representation: commonly, the life-like depiction of persons or objects.

Representational shape: a shape derived from specific subject matter and strongly based on visual observation.

Rhetorical form: a type of sequential organization in which the parts are used to create and support an argument. Often used in documentary films.

Rhythm: 1. presentation of multiple units in a deliberated pattern. 2. in film making, the perceived rate and regularity of sounds, shots, and movement within the shots. Rhythm is determined by the beat (pulse), accent (stress), and tempo (pace).

Rhythmic relationship: the juxtaposition of multiple visual elements or images to create a deliberate pulse or beat.

S ---------

Saturation: the purity, chroma, or intensity of a color.

Scale: a size relationship between two separate objects, such as the relationship between the size of the Statue of Liberty and a human visitor to the monument.

Scene: in film, continuous action in continuous time and continuous space.

Scene-to-scene transition: in comic books, the juxtaposition of two or more frames showing different scenes or settings.

Scope: conceptually, the extent of our perception or the range of ideas our minds can grasp. Temporarily, scope refers to the range of action within a given moment.

T ---------

U ---------

Unity: compositional similarity, oneness, togetherness, or cohesion.

V ---------

W ---------

Weight: the visual or physical heaviness of an object.

Wipe: in film, a transition in which first shot seems to be pushed off the screen by the second. Wipes were used extensively in Star Wars.

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

RMCAD Digital Policies, 2008-9.

2008-07-07T21:13:00.002-07:00

Following are the policies for digital resources at the Rocky Mountain College of Art and Design.

School policies are my policies, no exceptions.

RMCAD Printing Manual
These policies are subject to change. Please, make sure you consult the most recent iteration of the Printing Procedure manual. Rev. 3 August 25, 2007

Print Procedure

Color Accuracy
RMCAD does not currently support color accuracy for color printing on any of the printers offered on campus. Please take this into account when designing and preparing final projects.

Basic Printing Knowledge
Students are allowed a specific printing allotment per semester. Printing allotments DO NOT carry over to the next semester. Students are required to enter a username and password to print. This will be the same username and password as email access. Certain printers are department speciﬁc and carry ﬁnes for accidental and/or intentional usage. All restricted printers are clearly marked.

The printers open for student use are as follows;
• TX004, B&W (Animation BW Printer Texas)
• TEXAS 1st Floor, B&W (1st Floor BW Printer Texas)
• TEXAS 1st Floor, COLOR (1st Floor Color Printer Texas)
• TEXAS 2nd Floor, COLOR (2nd Floor Color Printer Texas)
• LIBRARY, B&W (Library BW Printer)
• RUDE Basement, B&W (RUDE BASEMENT)
• SA102, B&W (SHORE PRINTER)
• TECHBAR, COLOR Wide Format
• TEXAS 4th Floor, COLOR Medium Wide Format
• TX106, CAD PLOTTER (ID Plotter 1)
• TX206, CAD PLOTTER (ID Plotter 2)

Department speciﬁc printers are as follows; Animation BW Printer Texas (Animation only), ID Plotter 1 & 2 (Interior Design only), Shore printer (Fine Arts and Liberal Studies).

At the end of the term printing gets very heavy and Murphy’s Law takes effect. Do not rely on the school’s printers for ﬁnal projects! The College CANNOT guarantee round-the-clock printing. Always allow time to use a service bureau like Kinko’s or PIP Printing as a backup for ﬁnal output.

RMCAD Print Procedure

Exporting to a PDF
Exporting a document to a PDF is an excellent way to reduce ﬁle size and maximize compatibility of a document. It also makes printing much more user friendly and faster.

Note that small Word and PowerPoint ﬁles of 5 pages or less do not have to be exported as a PDF to print.

To Save a PDF on a Windows PC from PhotoShop or Illustrator
- After opening the document you wish to print in Photoshop or Illustrator, click “File” and then “Save As.” This will bring up a screen where you can select your ﬁle’s destination. (Where the PDF will be saved to.) We suggest that you save the ﬁle or ﬁles to your computer’s “Desktop.” Next, click the “Save As” box at the bottom of the screen and select “Adobe PDF (*.PDF)” Name the document and click “Save.” Your document should now be saved to the desktop of your computer.

To Save a PDF on a Windows PC from InDesign
- After opening the document you wish to print in InDesign, click “File” and then “Export.” This will bring up a screen where you can select your ﬁle’s destination. (Where the PDF will be saved to.) We suggest that you save the ﬁle or ﬁles to your computer’s “Desktop.” Next, Click the “Save as Type” box at the bottom of the screen and select “Adobe PDF.” Name the document and click “Save.” Your document should now be saved to the desktop of your computer.

To Save a PDF on a Windows PC from Word or PowerPoint
- After opening the document you wish to Print in Word or PowerPoint, Click the “Adobe PDF” button on the menu at the top of the screen, and then click “Convert to Adobe PDF.” This brings up a screen where you can select your ﬁle’s destination. (Where the PDF will be saved to.) We suggest that you save the ﬁle or ﬁles to your computer’s “Desktop.” Next, Click the “Save as Type” box at the bottom of the screen and select “Adobe PDF.” Name the document and click “Save.” Your document should now be saved to the desktop of your computer.

Exporting to a PDF

To Save a PDF on a Mac from PhotoShop or Illustrator
- After opening the document you wish to print in Photoshop or Illustrator, click “File” and then “Save As.” This will bring up a screen where you can select your ﬁle’s destination. (Where the PDF will be saved to.) We suggest that you save the ﬁle or ﬁles to your computer’s “Desktop.” Next, click the “Format” box at the bottom of the screen and select “Photoshop PDF” Name the document and click “Save.” Your document should now be saved to the desktop of your computer.

To Save a PDF on a Mac from InDesign
- After opening the document you wish to print in InDesign, click “File” and then “Export.” This will bring up a screen where you can select your ﬁle’s destination. (Where the PDF will be saved to.) We suggest that you save the ﬁle or ﬁles to your computer’s “Desktop.” Next, Click the “Format” box at the bottom of the screen and select “Adobe PDF.” Name the document and click “Save.” Your document should now be saved to the desktop of your computer.

To Save a PDF on a Mac from Word or PowerPoint
- After opening the document you wish to Print in Word or PowerPoint, Click “File” and then “Print.” At the top of the screen there is a “Printer” box. Click the box and select “Adobe PDF.” (Preferably Adobe PDF 7.0 to maximize compatibility)Next you can select your ﬁle’s destination. (Where the PDF will be saved to.) We suggest that you save the ﬁle or ﬁles to your computer’s
“Desktop.” Name the document and click “Print.” Your document should now be saved to the desktop of your computer.

Printing from Adobe Acrobat

Printing from a Windows PC
- Open your ﬁle in Adobe Acrobat Professional. If you would like to adjust any settings for your document, select “File” and then “Print Setup.” This brings up a screen where you can select the printer that you would like to temporarily change print settings for. Select the printer you wish to print to by clicking the box at the top of the screen. You can now choose what paper size you would like to print to and\or which tray the printer will print from. To do manual feed printing you can select “Bypass Tray” from the menu. Do not do this if you have not been shown how by an instructor.

Any other manipulations of print settings can be done via the “Properties” button, but we do not recommend you change these settings unless you are well educated in each printer and its features.

Click “File” and then “Print.” This will bring up a new screen. There will be a box at the top, left where you can select the printer you wish to print to. After selecting the correct printer and making sure that all settings displayed in the print screen are correct, you can click the “OK” button at the bottom, right and the document will be sent to the printer. You will then be prompted by the Print Authentication Module, which will ask for your name and password so that your print account can be billed. Typically, your print account name will be your ﬁrst initial, followed by your last name. Your password should be the last 4 digits on your student ID.

Example of a username and password for John Doe:
User Name: jdoe
Password: 1234

Printing from Adobe Acrobat.

Printing from a Mac
- Open your ﬁle in Adobe Acrobat Professional. If you would like to adjust any settings for your document, select “File” and then “Page Setup.” This brings up a screen where you can select the printer that you would like to temporarily change print settings for. Select the printer you wish to print to the box labeled “Format for.” You can now choose what paper size you would like to print to and\or which tray the printer will print from. Click “File” and then “Print.” This will bring up a new screen. There will be a box at the top where you can select the printer you wish to print to. There are various settings that can be toggled within this menu, but we urge students not to make changes unless they know what effect that change will have. After selecting the correct printer and making sure that all settings displayed in the print screen are correct, you can click the “Print” button at the bottom, right and the document will be sent to the printer. You will then be prompted by the Print Authentication Module, which will ask for your name and password so that your print account can be billed. Typically, your print account name will be your ﬁrst initial, followed by your last name. Your password should be the last 4 digits on your student ID.

Example of a username and password for John Doe:
User Name: jdoe
Password: 1234

Printer Usage Descriptions

Texas Printers

TX004, B&W (Animation BW Printer Texas)
This printer is primarily used as a copy machine for the Animation Department.
• It is used for enlarging simple animations.
• This printer is also in reserve as a backup if any main B&W unit malfunctions at a critical point.

TEXAS 1st Floor, B&W (1st Floor BW Printer Texas)
This printer is primarily used as a small-format output device for Graphic Design and Interior Design.
• It is a high-use printer that requires constant maintenance and care.
• All toner, imaging units and paper are maintained by the TechBar

TEXAS 1st Floor, COLOR (1st Floor Color Printer Texas)
This printer is used as a small-format output color device for Graphic Design, Interior Design and other departments.
• It is an extremely high-use printer that requires constant maintenance and care.
• It is susceptible to color shifting, jamming and heat-related failure.
• All toner, imaging units and paper are maintained by the TechBar

TEXAS 2nd Floor, COLOR (2nd Floor Color Printer Texas)
This printer is used as a small-format output color device for Graphic Design and the Foundations Department.
• It is an extremely high-use printer that requires constant maintenance and care.
• It is susceptible to color shifting, jamming and heat-related failure.

Other Campus Printers

LIBRARY, B&W (Library BW Printer)
This printer is used as a small-format output color device for Liberal Studies
• It is an extremely high-use printer that requires constant maintenance and care.
• It is susceptible to color shifting, jamming and heat-related failure.
• All toner, imaging units and paper are maintained by the TechBar and Library Personnel

RUDE Basement, B&W (RUDE BASEMENT)
This is a small-format printer used to generate simple word processing papers.
• It is not intended for use for graphics.
• This is a very low-yield printer
• Paper is available from the Front Desk.
• Toner and support is available through the TechBar

SA102, B&W (SHORE PRINTER)
This is a small-format printer used to generate simple word processing papers.
• It is not intended for use for graphics.
• This is a very low-yield printer
• Paper is available from the Front Desk.
• Toner and support is available through the TechBar

Wide Format Special use Printers

TEXAS 4th Floor, COLOR Medium Wide Format
This printer is used by the Fine Arts Department exclusively for the Photo/Video students.
• It is exclusive and can not be used by any Faculty, Staff or Students without exception.
• This is a very expensive printer to maintain and is currently in Beta status as to it’s cost feasibility.
• Paper and Inks are currently purchased by the Fine Arts Department
• Maintenance and repair are the responsibility of the TechBar

TECHBAR, COLOR Wide Format
This printer is open to all students.
• It is a pay-per-foot usage charge and requires a 72 hour window.
• The printer is operated by the TechBar staff and is maintained by the TechBar Supervisor, John Melton.
• Color accuracy is maintained by allowing students to print 6” of sample per every 36” ordered.
• If the ﬁnal output does not match because of TechBar error, or there is damage to the ﬁnal print, a reprint or refund is available.
• Paper and Ink are maintained by the TechBar and purchased through the Bookstore’s account.

TX101, CAD PLOTTER 1 & 2 (ID Plotter 1)
This printer is used only by Interior Design for ﬁnal large-format plotting.
• They are designed for mass plotting IF used only for simple line plots.
• They are restricted to only Interior Design students.
• All faculty, staff and other students are not permitted to use these Plotters without exception.
• All papers and inks are maintained and ordered by the TechBar

PRINTING RESPONSIBILITIES HIERARCHY
TechBar: On Call Employee
Campus Technology Coordinator: John Melton
Director of Technology: Jon Stiles

Common Problems

Color Accuracy
Colors wrong, Pixelation, Images very distorted?
The ﬁrst step is to ensure that you are printing a pdf. By working with a PDF document you will have the most success printing as well as saving time in queue. Should step one fail then the next task should be to stop by the Techbar for assistance.

Printer Problems
Printer seems to have an error code, a paper jam, or displays a request for a particular item like toner. The Techbar is the very ﬁrst place you need to go in order to get the printer repaired. NEVER take it upon yourself to repair, service, or re place components on a printer.

Print Failing
Print sent but isn’t coming out of the printer? Data button is ﬂashing and nothing is coming? Waiting for long periods but still having nothing coming out? The printers on campus are all network connected which means there are lots of points of possible failure. If the print module did not pop up after hitting print in an application make sure it is currently running. The next step is send the prints again, if after the second attempt you still get nothing see the techbar for other steps to print.

Print Error
Print error pops up at some point while trying to print? Print authentication not popping up? All error codes and soft ware anomalies that may be present should be presented to a tech for help.

Techbar Employees
Searching for someone at the techbar but the door is shut? Need immediate assistance? Need to return a device? Tech’s are scheduled to be working during all open hours on campus. A tech that leaves the techbar will add a note to the dry erase board stating the date, time, and the location where he will be. Follow the directions to ﬁnd the current tech if you need help.

If you need to return a device that you checked out ﬁnd the tech on duty and ask for his assistance. NEVER return a camera by leaving with another person or the front desk. Doing so you are still responsible for the item you checked out not the person you give it to.

Print Failure Plan
In the event that any of the following printers suffers a catastrophic failure, RMCAD will follow the following steps.

General Use Printers

TX004, B&W (Animation BW Printer Texas)
• Call systems repair consultant
• Non-critical system

TEXAS 1st Floor, B&W (1st Floor BW Printer Texas)
• Call systems repair consultant
• Replace with TX004, B&W (DIB)

TEXAS 1st Floor, COLOR (1st Floor Color Printer Texas)
• Call systems repair consultant
• Replace with Administrative Color Printer until repair is made

TEXAS 2nd Floor, COLOR (2nd Floor Color Printer Texas)
• Call systems repair consultant within 1 hour
• Replace with Administrative Color Printer until repair is made

Printers Outside of the Texas building.

LIBRARY, B&W (Library BW Printer)
• Call systems repair consultant
• Replace with TX004, B&W (DIB)

RUDE Basement, B&W (RUDE BASEMENT)
• Replace Unit within 1 week

SA102, B&W (SHORE PRINTER)
• Replace Unit within 1 week

Wide Format Special Use Printer

TX106, CAD PLOTTER1 (ID Plotter 1)
• Call systems repair consultant
• replace with CAD PLOTTER2

TX206, CAD PLOTTER2 (ID Plotter 2)
• Call systems repair consultant
• replace with CAD PLOTTER1

TEXAS 4th Floor, COLOR Medium Wide Format
• Call warranty service
• Refer students to TechBar Wide Format at no-cost

TECHBAR, COLOR Wide Format
• Call systems repair consultant
• Notify client within 1 hour

Account Procedures
At the beginning of every term, each student is given $25.00 in prints. Be sure to pay to close attention to which printer you send your ﬁles to. If you send a black and white image to a color printer, you will be billed for a color print. Additionally, we recommend you reduce image sizes to smaller pages when printing test prints.

The price of each print is as follows:

BW printers are:
8.5x11 = .03
11x17 = .07

Color Printers are:
8.5x11 BW = .03
11x17 BW = .07
8.5x11 CL = .13
11x17 CL = .26

Shore and Rude BW
8.5x11 BW = .05

You can view your account balance by consulting the TechBar, located in the basement of the Texas building. There, you can also buy additional prints if you have run out of money in your account.

Note: Your $25 allotment does not apply to wide format printing in the TechBar. Every account has a limit as to how many prints or pages can be sent at once time as well as a size restriction on the data ﬁle itself. See the Techbar for this information.

Advanced Printing Procedures

Every printer uses a driver that is speciﬁcally designed for it. Based on the driver, the printer will have a variety of functions it is able to do. Not all printers can perform all functions in the same manner. For extra assistance in controlling your print or using advanced printer features come to the Techbar.

Should you encounter instances of color distortion, pixilation, or any other problem, please contact the TechBar. We are open during all school hours after 8am on weekdays, and at speciﬁed hours on weekends. We will gladly help you solve whatever problems you may encounter.

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Grading Guidelines for Digital Image Making.

2008-07-03T15:39:00.001-07:00

Here is a breakdown of your grades.

Attendance: 10%
Effort and use of class time: 10%
Craftsmanship: 10%
Project Grades/Reports: 40%
Final Written Exam: 10%
Critique and Evaluation: 20%

Explanations:

Attendance: you are allowed 3 absences from my class. Two of those can be made up in the MAX CENTER on campus. Attendance means you get to class on time and do not leave early. If I see you leaving early, you may be counted absent. If so, I will email you telling you that you were absent because you were not in class. Follow the college policy for excused versus unexcused definitions.

Effort and use of Class time: being in class and socializing does not constitute good work ethics. Socializing is different from discussion about work done in class. Cell phones should be on vibrate. Get up and go out of the classroom to talk to someone on the phone. Students who help other students learn better than students who never help anyone. Help someone in class, if the opportunity arises. You might be a future professor yourself. Internet surfing is not a viable class work effort. Research is important, even internet research. Learn the difference. If you need help realizing the difference, I could help you with that. Class time is scheduled for the amount of time you need to finish projects. Your effort during class will pay off.

Craftsmanship: Board work for critique on black, white, or gray. Put your name on the back of the board so it is clearly read. Ragged edges, dirty work, etc. will not be graded favorably. Clean up the work after glue and spray adhesives are used.

Project Grades: You will find the evaluation section a great guideline for the grading on projects. Remember to scroll down beneath the General Guidelines to find specific Project Evaluation Guidelines. Only projects handed in the day they are due will get an "A" grade (if deserved). Projects will go down 1/2 grade each class day they are late (from their deserved grade). Reports are part of the study of specific digital information, and are graded as part of the projects. Look at the Post a Report section for a list of these reports and to see their guidelines.

Final Written Exam: this will be a terminology exam. I will post some terms early on in the list, and we might add some more as we need them. I will give you 20 terms for the Final Written Exam.

Critique and Evaluation: Each project will accompany a Self Evaluation sheet. During critique, I will make notes on students and how they use terminology and concepts that are elements of art and principles of design. Since this is subjective, I will allow students to hand in a Critique paper (added to verbal critique) to help that grade.

Here is the Evaluation Procedure/Grading Policy from RMCAD.

90-100 is an A
80-89 is a B
70-79 is a C
Below 70 is F, Failing

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Guidelines for Critique and Self Evaluation.

2008-07-03T15:33:00.022-07:00

Below you will find Self Evaluation and Critique guidelines for Digital Image Making.

After each critique, you will be writing a short Self Evaluation. The areas of discussion during critique will be covering issues with the Elements of Art and Principles of Design, and then these items below. My first section will be about general guidelines, then followed by specifics for certain projects.

CRITIQUES: Critiques are done verbally. Each student will be asked to take part. If a student feels he or she does not want to be graded on verbal critique alone, they can write a critique paper to accompany that verbal section. That paper is due the very next class after the critique, and will not be accepted any later for grading.

GENERAL GUIDELINES.

When I was in college as a new undergraduate, a set of guidelines was given to me to develop my sense of procedure, content, understanding, and application of professional critique. The guidelines made sense to me, and even more so when I used them in actual critique sessions. These guidelines are from a book that I have had for years, "Varieties of Visual Experience," 3rd edition, by Edmund Burke Feldman. This edition was published in 1987 through the University of Georgia, by Prentice-Hall, Inc., Englewood Cliffs, N.J., and Harry N. Abrams, Inc. New York. If I add anything to the guidelines as they come from the book, my words and paraphrases will be italicized.

Chapter Fifteen: The Theory of Criticism (pages 453-494).

Art criticism is talk about art.

The chief goal of art criticism is understanding.

1. understand intellectual motives (meaning and content, what information does it imply within its timeframe/within our timeframe).
2. understand the causes in the work of the effect it has on us (pleasure, delight, gratification, personal motives).
3. understand the social implications and motives of the work (sharing of knowledge, emotion, is the work trying to communicate or is it propaganda).
4. understand the formal elements of the work of art.

Establishing a value system for critique.

1. Establish a sound foundation for art (never-changing, answer the question, "what is art?").
This foundation does not evolve (although new art forms add to the formal elements).
2. Establish a standard criteria for judging art (always changing).
These standards evolve continuously. Ask yourself these questions:
a. Should my criteria for judging art always rely on sound foundational concepts?
b. Shoud my criteria for judging art sometimes rely on sound foundational concepts?
c. If I ignore foundational concepts, what happens to judgment integrity?

Art criticism is like teaching; it is the communication of ideas about art - and often about life, the soil in which art is nourished.

The historical and humanistic value of art criticism.

The history and criticism of art become disciplines that enable us to see connections between art and the major patterns of human thought and behavior.

Critical judgment and analysis is rooted in a sound foundation.

Criticism affects the production of what it criticizes, providing critical standards for artists, ending with the formulation of ideas and opinions that act as standards for artistic creation. Making art and talking about art is not linear. It is the evaluation of art in a cycle that provides a new beginning in creation. When that new beginning comes full cycle to a finished work of art, the re-evaluation then provides again a new beginning. I refer to this type of thinking as cyclical, or the vortex of learning. I very strongly believe that a formal sound foundation in art is such an important step in an artist's education that it cannot be separated from the art of that artist at any time during his or her life.

Note: Learning new concepts can be tedious, and applying those concepts to your art even more tedious, especially if you have not done so before. Artists don't generally want anything to dominate their art that does not come to them intuitively. Developing professionally consists of making those very important formal concepts become intuitive. Then they are second nature, and again, the artist can allow them to take second place to their ideas, and not worry about whether their work is formally proficient. Two things in art are incredibly ugly, an artist without foundational integrity, and an artist who is strongly foundational with no message (an extremely linear statement, that is why it is ugly and has no place in the vortex of learning). Throw away the linear graph of your life, and buy a circle :)

The Tools of Art Criticism.

1. Know art: study art history (books, videos, internet study).
2. See art: go to exhibitions, art shows, etc. (real art, actual art, not internet galleries).
3. Experience art: do it yourself. Ever tried doing some technique you never tried before?
4. Talk and listen: practitioners (artists), historians (art historians), and theoriticians (art critics).

Types of Art Criticism.

1. Journalistic Criticism: a written review, informs and describes.
Why do we need them? They stoke the fires of critical controversy, and by expressing their biases forcefully, they help create the atmosphere of striving and rivalry that artists, collectors, and the general public seem to require. Here's my take: newsworthy - it may be news, but is it worthy?

2. Pedagogical Criticism: oral critique.
Why do we need them?
a. to advance the artistic and aesthetic maturity of students.
b. to analyze and interpret a student work for the student's benefit (during the process and for the final work).
c. to establish standards in a flexible manner that are compatible with student personality.
d. to help students develop artistic discernment and awareness.
e. to help students relate their work to the works of artist throughout time.

Note: did all artist learn to use criticism in a proper manner?
You answer that question by these famous artists examples:
Robert Henri taught diversity. :!
Thomas Benton taught imitation. :(
Jackson Pollack taught lifelong rebellion. :+

3. Scholarly Criticism: specialized journals.
Why do we need them? To provide the kind of analysis, interpretation, and evaluation that academic detachment makes possible. Each era has its own way of seeing art. Although scholarly criticism appears to be lifeless, it affords art criticism a special insight: scholarly critics are in a position to render the informed and sensitive judgment that serious art deserves. Unfortunately, not all artists live to see that judgment, but it is reassuring to know that it will eventually come to light.

4. Popular Criticism: Lay people.
Why do we need them? This type of criticism comes from non-artists, non-critics, etc. It serves as our only resource for non-elitist evaluation and analysis. They judge art in terms of its representational power. They want art to be faithful to the visual facts. Artists must find the delicate balance between being faithful to visual fact/truth, and enhancement of their own senses, emotions, and concepts. Artists must remain faithful to their art. I value popular criticism in my own work. I don't change my work every time a non-artist tells me to do so, but I listen to their ideas because they are my public audience. There is a whole world of thought about whether artists create art for other artists, or whether they create art for the general public.

5. Artistic Criticism: creative people.
Why do we need them? Every critical decision the artist makes during creation has a critical dimension. The creative act is one of continual revision, that is, acceptance or rejection of forms and meanings in the light of the artist's expressive goals and critical standards. Artists make critics rethink the art. Critics make artists rethink the art. Again, the vortex of learning.

Kinds of Critical Judgment.

Formalism.

Definition: a term to describe the critical position that greatness in art results from the ideal juxtaposition and treatment of the basic elements of visual form (such as pictorial organization and craftsmanship).

Expressivism.

Definition: a term to describe the critical position that greatness in art results from the vivid, intense, and convincing expression of emotion (such as intensity beyond normal experience, emotional responses at a heightened state). Expressivists believe that art should have "something to say."

Expressivist criteria:
1. originality.
2. relevance to the present.
3. cognitive validity in technique and formal organization.

Instrumentalism.

Definition: a term to describe the critical position that greatness in art results from effectiveness in advancing the objectives of humanity, usually as defined by one of a number of major social or economic institutions: family, church, state, guild, firm, political party, corporation.

Instrumentalists believe:
1. Medieval art was meant to communicate the doctrines of the Church to people who could not read.
2. That motivation and purpose cannot be separated.
3. That form, purpose, and idea are identical.
4. If they cannot "see" or feel or understand the purpose of the work, they know it has failed.

Despite its abuses - especially in official censorship - instrumentalism provides useful grounds for criticizing art:
1. it encourages critics to seek out the social, moral, or economic purposes that art serves.
2. it emphasizes the worthiness of art that is related to society's dominant concerns.
3. it acts as a corrective to the tendency of artists to become excessively involved with purely technical problems.

The Critical Performance (this is your guide to critique).

Description, Formal Analysis, and Interpretation.

The first step in the critical performance is Description.
Description: a process of taking inventory, of noting what is immediately visible in an artwork. Avoid inferences, judgments, or discussion of personal feelings. Discover what is in the art, make no value statements. Describe names of things we see; objects, numbers of objects, visual relationships that are readily seen, shapes, colors, directions of shapes, colors, and directions, visible execution characteristics, and subjects within the work.

A complete description of the work allows the critic to form a basis for later interpretation. A critique of artwork without all of the information is misled.

The second step in the critical performance is Formal Analysis.
Formal Analysis: discovering the relations among the things we discovered in the description. Inferences, implications, possible and conflicted meanings, depth of idea, are among the steps needed to formally analyze the work. Formal analysis affords the accumulation of evidence for interpreting and judging a work of art. Formal analysis also involves applying the elements of art and principles of design, compositional and pictorial organization, logic of spatial representation, positive and negative play, and the way these elements and principles are related to inferences, implications, and meanings. Violations to our expectations are part of the analysis.

The third step in the critical performance is Interpretation.
Interpretation: the process of finding the overall meaning of a work of art, after describing the work completely, and then analyzing the work by formal means. Through interpretation, we discover the meanings of the works of art and state their relevance to our lives and the human situation in general. The function of language in critical interpretation is to deal with the formal and sensuous qualities of the art in terms of their impact upon our feelings and intelligences.

We should first form a hypothesis: this is a tentative interpretation of the facts, leading us to an explanation of the work as a whole. Use the terms, "looks like, reminds me of, feels like," to form the initial hypothesis, and, in fact, more than one hypotheses can be formed.

Once our hypothesis is formed, we can then begin to interpret the work. Our basis for interpretation, remember, is our complete description, a formal analysis of the work, and then our search for meaningful interpretation.

Note: critique is not a substitute for creating art itself, for without the actual creation of art, there would be no art to talk about.

There you have it, my take on critique and how one should go about learning the initiation, the formation, the application, and the evaluation of the critique of art.

PROJECT-SPECIFIC GUIDELINES.

These guidelines will be posted as we approach each critique for specific projects. They will not repeat the information above, so please study that. Project-specific guidelines will directly relate to that project.

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PROJECT: Web and Portfolio Development Instructions.

2008-07-03T15:27:00.001-07:00

Use Adobe programs to begin your Portfolio for launch online or for Presentation! November 19-December 01.

Under Construction.

Examples: shown in class when the project is introduced.

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PROJECT: Digital Photography Instructions.

2008-07-03T15:12:00.004-07:00

HDR, Black and White, Selective Color with Layer Masking, and Photomerge!

ONE PHOTO IS DUE AT CRITIQUE FROM THE BELOW CHOICES.

Take photos in RAW on your camera for incredible detail! Take a panoramic view and weave it together! Take bracketed photos and get the best quality for your photo! Here's how Photoshop can help you!

In Photoshop, go to File/Automate, and then choose photomerge and/or HDR.

Note: Although it is not required, consider shooting in Camera Raw. Go to the Menu section on your camera and find the Raw setting.

Project specs: one work will be done in this section. That work will be seen at critque. You may choose which project direction you want to take.

First Choice: PHOTO MERGE IN PHOTOSHOP
PURPOSE: GETTING MORE INFORMATION IN A SINGLE PHOTO BY TAKING SEVERAL PHOTOS CLOSER UP TO THE SUBJECT AND MERGING THEM TOGETHER IN PHOTOSHOP.

1. First, a panoramic view (three or more) - take three or more photos in panoramic style. Stitch them in the Photomerge section.

Use Levels and Curves to adjust the image. Options: (1) Use destructive, turn your work to grayscale by Image/Mode/Grayscale, then back to Image/Mode/RGB to work on the image, or (2) Use non-destructive, Layer/Adjustment Layer/Hue-Saturation and turn the saturation down to 0.

2. Second, take several images of the same framing on your camera with different exposure settings (light to dark, plus to minus) and place these into HDR to make a final work with perfected lighting. Your aim is to respect the Photography Zone System, and make sure both the bright whites and the darkest darks still have texture and information.

As in the first part of this project, use Levels and Curves to adjust the image. Options: (1) Use destructive, turn your work to grayscale by Image/Mode/Grayscale, then back to Image/Mode/RGB to work on the image, or (2) Use non-destructive, Layer/Adjustment Layer/Hue-Saturation and turn the saturation down to 0.

Explanation: Photomerge takes two or more pictures taken in panoramic view and stitches them together into one picture (lateral). HDR takes several photos of the same frame shot at different bracketed light (plus + or minus- on your exposure scale) and combines light and dark values to get a better picture.

Second Choice: HDR IN PHOTOSHOP.
PURPOSE: TAKING SEVERAL PHOTOS OF THE SAME SUBJECT (WITH YOUR TRIPOD) WITH BRACKETING FROM YOUR CAMERA. THIS ALLOWS DETAILS IN THE LIGHTEST LIGHTS AND THE DARKEST DARKS. YOU SHOOT THESE PHOTOS FOR THE ZONE SYSTEM.

Further explanation of HDR: remember in the days of your black and white photography, you took a bracketing group of shots? You shot the same photo in less and more exposure time, or changed the aperture to open more or less. Bottom line, you made contacts and had to choose the best one from the group. HDR allows you to place all of the best shots together into one image. They are layered on top and below each other (depth). Your camera screen should show this: -4...-2...-1...0...+1...+2...+4 (or similar numbers). Minus darkens the image, plus lightens the image. Shoot at least 4 of these settings, then place them in HDR. Often, it says Exposure in the Menu.

Third Choice: CAMERA RAW.
PURPOSE: GETTING THE MOST AMOUNT OF INFORMATION POSSIBLE INTO ONE PHOTO. MAKE THIS A BLACK AND WHITE AND WORK ON IT IN PHOTOSHOP.

Fourth Choice: LAYER MASKING WITH PHOTOSHOP.
PURPOSE: TAKING A PHOTOGRAPH, MAKING TWO LAYERS IN PHOTOSHOP, AND USING THE LAYER MASK TO MAKE A SELECTIVE COLOR PHOTOGRAPH. ONE LAYER WORK WILL BE BLACK AND WHITE, THE OTHER LAYER WORK WILL BE COLOR. ALLOW SELECTIONS OF THE COLOR TO RESIDE IN THE BLACK AND WHITE PHOTO.

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Digital Image Making Resources.

2008-07-03T14:33:00.001-07:00

Resources to help you in this class.

THE MAX CENTER (LOCATED IN THE LIBRARY).
Attendance is important to me. Since I think attendance is directly related to learning, if you are in class, I feel your chances of learning is exponentially multiplied. If you are absent, the learning is put on hold. Here is what I want you to do. For two (2) of my classes, except CRITIQUE, you can go to the MAX LAB/CENTER on the campus and do that part of learning that you missed in my class (according to the calendar), then get the center representative to email me at msanders@rmcad.edu, saying that you did your time. If no one is at the office at the MAX CENTER, email them for an appointment at max@rmcad.edu. You will still be absent, but you will not be penalized for missing the information. Also, (and this is the best part) YOU WILL BE READY FOR THE NEXT CLASS! Sound like a plan? Works for me!

THE TECH LAB (LOCATED IN THE BASEMENT OF THE TEXAS BUILDING).
Electronic equipment rental, printer problems, trouble-shooting computer problems, passwords, and special printing opportunities are among the jobs that computer techs do for students, staff, and faculty. You will need your student id for rentals. Hours are posted on their door. Their email is techbar@rmcad.edu.

THE LIBRARY (LOCATED IN THE LIBRARY, OF COURSE).
Research, writing papers, finding out information, and they have computers for research in the library. Adobe Photoshop is not on the computers in the library, so have your images ready before going to the library (enhancements and manipulations).

Library Resources:
This is the information you get as a student at RMCAD. To access password and protected sites, please go by the Library and get the information. They may ask you for your student id card.

To access the electronic catalog, databases, other library websites, and instructional pdf/powerpoints from our school website go to http://www.rmcad.edu, then click on Academic Life on the right side of the page and then Library under Academic Life.

In order to find materials in our library go to the RMCAD Library Catalog: http://www.library.rmcad.edu - our web version of RMCAD's library holdings.

Two databases (ESBCO, SIRS) are available remotely from off campus, get the appropriate log on passwords within the description handouts you got as a new student, or go by the library and get them from a library representative.

BRITANNICA ONLINE - http://search.eb.com
This is an online version of the Encyclopedia Britannica complete with photos and images. It is a good place to begin researching in order to provide background, history or an overview of your topic.

EBSCO FULL TEXT MAGAZINES - http://search.epnet.com
From home or away from campus you will need to log on using a user id and password. This is our single most comprehensive magazine/journal database. It is divided into two main areas: Academic Premier and Business Source Premier. Use the help screens for search tips and remember to click on the full text box to get full articles. You can also list the journals included and determine the subject terms that match your inquiry by clicking on the Publications or Subject tabs.

GROVE DICTIONARY OF ART - http://www.groveart.com
This is the full text image and article database for fine art, artists and art movements. It is also good for non-western art sources and digital images.

SIRS KNOWLEDGE SOURCE - http://sks.sirs.com
From home or away from campus you will need to log on using a user id and password. SIRS stands for Social Issues Research Series and consists of full articles from magazines and newspapers covering domestic and international events and controversies. It is divided into three sections: Researcher, Government Reports and Documents, and Renaissance. Try the leading issues section if you need articles on a controversial topic. Use the cite area for guidelines to list your sources in a bibliography. There also is a today's new area, a dictionary and a thesaurus.

To access the collections of other libraries you can go to the websites for:
Denver Public Library - http://denver.lib.co.us, or
Jefferson County Public Library - http://jefferson.lib.co.us.
For a list and access to all the large public and academic libraries in Colorado go to:
http://prospector.coalliance.org. Click on the About Prospector tab to go directly to the individual web site. With a Colorado Drivers License or RMCAD id you can use many of these libraries, including the Auraria Campus Library and Regis University.

For tips on using our library and conducting research, click on the pdf's: Explaining Research Skills, and RMCAD Library Research.

FIRST FRIDAYS IN DENVER and RMCAD VISITING ARTISTS.
On the first Friday of every month, there is an art bus shuttle that takes you all over Denver to several galleries for opening night of the exhibits. RMCAD also offers visiting artists throughout the year, so get a copy of that agenda. You are required to do a certain amount of art events for several courses.

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PROJECT: Image Development for Web and Portfolio Instructions.

2008-07-03T14:26:00.001-07:00

How do you develop and optimize images for use in the web, on blogs, and for portfolio usage? This section tries to answer that question. October 20-27.

Under construction.

Examples: shown in class when the project is introduced.

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PROJECT: Logo Development and Typography Instructions.

2008-07-03T14:24:00.004-07:00

Logo Development and Typography.

Logo Development is part of your professional package. Typography is a great visual tool, and should be made part of your professional toolbox early in your career!

Logo Package Description

Part One: Image development/vectored in Illustrator.

Part Two: Head/Main Byline or company name (type).

Part Three: Subhead/Supporting information, campaign (type).

In-class project (can not be made up) UR FIRED, UR HIRED Test (Peer Evaluation).

Size test (Self Evaluation), print out without printer's marks.

LOGO PACKAGE/SPECIFICATIONS

PARTS DESCRIBED BELOW:

IMAGE –
(a.) BLACK AND WHITE VERSION,
(b.) 2 COLOR WITH BLACK VERSION,
(c) FULL COLOR VERSION OPTIONAL.

TYPOGRAPHY - HEAD/SUBHEAD
KERNED
LEADING WHERE NEEDED
VECTORED
MORPHED (PEN TOOL)

PACKAGE CONTENTS:

5 X 7 (APPROX.) LOGO IMAGE - printer's marks required
BLOCK (LETTER SIZE OK) – SIZE TEST - no printer's marks
BLOCK –BUSINESS CARD SETUP IN ILLUSTRATOR (2 X 3.5) - printer's marks required
ENVELOPE (9.5 X 4.125 - no. 10) - printer's marks required
LETTERHEAD (8.5 X 11) - printer's marks required
RETURN ADDRESS BLOCK (0.5 X 1.75) - printer's marks required

READY FOR BLOG UPLOAD:
5 X 7 IN JPEG FORMAT, RGB MODE

IN CLASS: Print out the color composite as a printer's mark separation.

Print package: letter head, envelope, business card, address label - printer's marks.

Web package: title block for web home page - logo image, head and subhead.
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Using the Elements of Art for Digital Image Making.

2008-07-03T13:53:00.002-07:00

Applying the Elements of Art to your Digital Image Making. The following tips are paraphrased from the book, "Launching the Imagination," by Mary Stewart. My words are italicized.

LINE. Think on the below variations of line when making art on the computer. Which tools in Photoshop and/or Illustrator give the opportunity to make variations of lines?

Line Orientation and continuity: diagonal line, horizontal line, vertical line, continuous curved line.
Line direction, repeating and intersecting line, line expression and psychology, implied and suggested line, contour line, cross-contour line, hatching line, cross-hatching line, undulated (thick and thin or calligraphic) line, line weight (thickness or thinness), line value (dark and light), line material (pen or charcoal).

SHAPE. The shapes you use in creating computer art should come from an understanding of figure-ground relationships. Shapes should not be created arbitrarily (just playing around with the paint brush, airbrush, or pen tool). As an artist, and as a student of art, you should be planning mature artworks. Digital art is no exception to that goal. Making art in a digital world should reflect your best effort.

A shape is a flat, enclosed area. Create shapes by a continuous line, surrounding an area with other shapes, filling an area by other shapes, or filling an area with broken color or texture. A three-dimensional enclosure is called a volume, not a shape (a square is a shape, a cube is a volume).

Gradations and shading can be used to make a two-dimensional shape have the illusion of a three-dimensional volumetric. This is especially important in computer art because the common tendency to paint in Adobe Photoshop or Illustrator is to create flat, uninterested shapes that have no relationship to each other.

Figure-ground relationship:
Figure is generally referred to as the positive shapes within a composition, and the ground refers to the negative shapes. They must be in balance with each other. A reversal is where the shapes trade places. Color combinations, such as complementary colors, create the most dynamic figure-ground reversals.

TEXTURE. still under construction.

VALUE.

COLOR.

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PROJECT: Photoshop Digital Painting Instructions.

2008-07-03T12:43:00.002-07:00

Painting in Photoshop! September 17-24.

Rules:
a. Make a line drawing (no shading) in dark pencil, sharpie, or black pen. Scan it into the computer, take it into Photoshop, giving it a layer of its own.
b. Use a color scheme (see color information).
c. Paint in photoshop using the drawing as a template.
d. This painting must be at least 7 X 7 inches and not larger than 10 X 16 inches.
e. Save your file as painting(lastname), as a .psd non-flattened, and a .jpeg flattened (two files).

Examples: shown in class when the project is introduced.

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PROJECT: Image Manipulation Instructions.

2008-07-03T12:22:00.002-07:00

Manipulating Images in Photoshop.

Use Convergent Thinking Strategy for this project (see Convergent Thinking section).

Find 10 visual sources for a photo-manipulation.

Rules:
a. image resource: a couple of the images can be from the internet (but not exactly as they were downloaded, they must be changed), at least 3 should be scanned image sources (such as painting and drawing), at least 5 should be photographic, that leaves 3 that can be alternative sources (such as objects scanned in that are neither photographic or 2d artwork).
b. the final work must adhere to the elements of art and principles of design (see the section on the Elements of Art and Principles of Design).
b. the final work must be larger than 5 X 5 inches and smaller than 10 X 16.
c. the final work must be saved as phmaniplastname in class folders under your name as a photoshop document (.psd), unflattened and and you will save one as a flattened .jpeg in RGB mode.

Examples: Shown in class when the project is introduced.

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Course Description for Digital Image Making.

2008-07-03T11:00:00.001-07:00

FD 1010
Digital Image Making
(3 Credits)

This course introduces the students to the use of computer as an image-making tool used across all art/design disciplines. Students are introduced to Photoshop and Illustrator techniques as well to printing and type management. At the conclusion of this course students will demonstrate their ability to solve visual, compositional, and technical problems on Mac/PC platforms.

Prerequisite: none

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Digital Image Making FD1010B/C Syllabus.

2008-07-03T10:54:00.010-07:00

Welcome to Digital Image Making at the Rocky Mountain College of Art and Design.

Course: Digital Image Making
Course No.: FD1010, Section B
Times: Monday and Wednesday, 12:00 p.m. - 2:50 p.m.
Room: TX 204

Course: Digital Image Making
Course No.: FD1010, Section C, Credits: 3
Times: Monday and Wednesday, 3:00 p.m. - 5:50 p.m.
Room: TX 204

FD 1010 ROCKY MOUNTAIN COLLEGE OF ART AND DESIGN
Digital Image Making FOUNDATIONS DEPARTMENT
Course description: This course introduces the students to the use of computer as an image-making tool used across all art/design disciplines. Students are introduced to Photoshop and Illustrator techniques as well to printing and type management. At the conclusion of this course students will demonstrate their ability to solve visual, compositional, and technical problems on Mac/PC platforms. Prerequisite: none

Semester: Spring, 2009
Instructor: Marcia Sanders, 303-386-5765 (Cell); office hours by appt.
Email: msanders@rmcad.edu

Text: NONE

SYLLABUS AND PROJECT SPECIFICATIONS
can be found at http://dimatrmcad.blogspot.com/
Materials: You must have a USB device for storage and backup by the third class. No other materials are needed for class, although your digital printing privileges and your RMCAD email account must be up to date and available by the end of the first week of class. It is your responsibility to take care of this matter.

Course Goals (basic learning expectations):
Students will learn to use the computer as a tool for image making and image manipulation.
Students will learn the use of scanning, digital photographs, etc.
Students will use the Elements of Art and Principles of Design to make digital images.
Students will be expected to show skill with the programs described in the course description.

Course Objectives:
Students will learn to manipulate digital resources and finalize a unified work.
Students will use Adobe Photoshop to create a painting.
Students will use Adobe Illustrator to create typography, logo design, and vector graphics.
Students will learn the pros and cons of web-based materials.
Students will learn to prepare printing-based materials.
Students will learn to use digital photography as fine arts and portfolio usage.
Students will be introduced to active content for web and performance.

Calendar for Digital Image Making.

PROJECT: IMAGE MANIPULATION
January 05-Monday-Introduction/Computer Methods/Scanning/Files/Overview
January 07-Wednesday-Intro. and Work Day/Photoshop/Image Manipulation/Photo-based
January 12-Monday-Work Day/Photoshop/Image Manipulation/Photo-based
January 14-Wednesday-Work Day/Critique for Image Manipulation Project last hour

PROJECT: DIGITAL PAINTING
January 19-Monday-Intro. and Work Day/Photoshop Painting
January 21-Wednesday-Work Day/Photoshop Painting
January 26-Monday-Work Day/Critique for Painting last hour
January 28-Wednesday-Lecture and Research for Typography
REPORT # 1 DUE BY JANUARY 30, MIDNIGHT

PROJECT: LOGO DEVELOPMENT/TYPOGRAPHY
February 02-Monday-Intro. and Work Day/Illustrator Vector Image
February 04-Wednesday-Work Day/Illustrator Vector Image
February 09-Monday-Intro. and Work Day/Vector Typography
February 11-Wednesday-Work Day/Vector Typography

FEBRUARY 16TH - NO CLASSES

February 18-Wednesday-Logo Development/Print and Web/Blog
February 23-Monday-Printing Marks/Critique for Logo Development last hour

PROJECT: IMAGE DEVELOPMENT FOR WEB AND PORTFOLIO PRESENTATION
February 25-Wednesday-Photographing Your Artwork/Power Point
March 02-Monday-Photoshop for Web and Presentation
March 04-Wednesday-Illustrator for Web and Presentation

PROJECT: DIGITAL PHOTOGRAPHY
March 09-Monday-Intro to Photoshop Raw for Digital Photography
March 11-Wednesday-Work Day/Photoshop for Digital Photography
March 16-Monday-Work Day/Photoshop for Digital Photography

PROJECT: VECTOR ART
March 18-FOR CRYING OUT LOUD WE HAVE A FRICKIN LOCK DOWN
Wednesday-Critique on Photography Images/Intro to Vector Art
March 23-Monday-Work Day on Vector Art Image
March 25-Wednesday-Work Day on Vector Art Image/ Critique on Vector Art last hour

PROJECT: WEB DEVELOPMENT/BLOGS/PORTFOLIO
March 30-Monday-Intro. to Web/Your Web Page/Research
April 01-Wednesday-Work Day/Web Page Development
April 06-Monday-Work Day/Web Page Development
REPORT # 2 DUE BY APRIL 10, MIDNIGHT
April 13-Monday-Work Day/Web Page Development
April 15-FINAL WRITTEN EXAM/FINAL PROJECT CRITIQUE
APRIL 20-22: Portfolio Review Week

Grading Guidelines for Digital Image Making.

Here is a breakdown of your grades.
Attendance: 10%
Effort and use of class time: 10%
Craftsmanship: 10%
Project Grades/Reports: 40%
Final Written Exam: 10%
Critique and Evaluation: 20%

Explanations:

Attendance: you are allowed 3 absences from my class. Two of those can be made up in the MAX CENTER on campus. Attendance means you get to class on time and do not leave early. If I see you leaving early, you may be counted absent. If so, I will email you telling you that you were absent because you were not in class. Follow the college policy for excused versus unexcused definitions.

Effort and use of Class time: being in class and socializing does not constitute good work ethics. Socializing is different from discussion about work done in class. Cell phones should be on vibrate. Get up and go out of the classroom to talk to someone on the phone. Students who help other students learn better than students who never help anyone. Help someone in class, if the opportunity arises. You might be a future professor yourself. Internet surfing is not a viable class work effort. Research is important, even internet research. Learn the difference. If you need help realizing the difference, I could help you with that. Class time is scheduled for the amount of time you need to finish projects. Your effort during class will pay off.

Craftsmanship: Board work for critique on black, white, or gray. Put your name on the back of the board so it is clearly read. Ragged edges, dirty work, etc. will not be graded favorably. Clean up the work after glue and spray adhesives are used.

Project Grades: You will find the evaluation section a great guideline for the grading on projects. Remember to scroll down beneath the General Guidelines to find specific Project Evaluation Guidelines. Only projects handed in the day they are due will get an "A" grade (if deserved). Projects will go down 1/2 grade each class day they are late (from their deserved grade). Reports are part of the study of specific digital information, and are graded as part of the projects. Look at the Post a Report section for a list of these reports and to see their guidelines.

Final Written Exam: this will be an evaluative exam. Start thinking how you can evaluate your own work for the semester at the end exam. I advise you to use your Rubrics Evaluation Sheets for Projects - bring them with you and you can better evaluate your work. Also, your work in the Finals Folder will be available for your viewing during that evaluation. This evaluation must be done in class on the exam date, no exceptions. If you do not do this exam in class time (if you are absent), you will get a failing grade for that exam.

Critique and Evaluation: Each project will accompany a Self Evaluation sheet. During critique, I will make notes on students and how they use terminology and concepts that are elements of art and principles of design. Since this is subjective, I will allow students to hand in a Critique paper (added to verbal critique) to help that grade.

Here is the Evaluation Procedure/Grading Policy from RMCAD.

90-100 is an A
80-89 is a B
70-79 is a C
Below 70 is F, Failing

What are Foundations Rubrics?
Following is a standard rubrics system. Assessing the quality level of your artwork from rubrics should give an accountability of how your grades were calculated, what parts of the assigned tasks you accomplished well, and in what areas you might need improvement. In the best instances rubrics provide a learning opportunity as well, allowing for revision of projects to better meet the criteria. The evaluation should lead to better self-assessment, ongoing peer review, feedback for further critique, and information for other constituents, such as accrediting bodies. The rubrics clarify the grading procedure, making certain the scores are given in an objective and fair manner.
Basic numbering system for rubrics used in this class, with project specifics for each project added to the handout for critique and evaluation purposes:
Excellent 5 A+, A
There are few or no flaws, work is high quality, professional, and demonstrates complete understanding of the task.
Very Good 4 B+, B
There are very few suggestions for improvement, any faults are minor in nature, and work demonstrates good understanding of the expectations.
Good 3 C+, C
Imperfections decrease the quality and success of the work, but effort and some understanding is demonstrated.
Satisfactory 2 D
There is minimal success at satisfying and understanding the requirement.
Unsatisfactory 1 F
Work fails to show effort at the assigned task.
Each assignment will also be graded by the following:
1. skills,
2. problem solving
3. participation
These rubrics will help you to:
- Know and have access to clear criteria for self-assessing
- Provide a guide for opportunities for improvement through revision
- Have a vocabulary guide for articulation of assignment during critique

Academic Integrity Policy at the Rocky Mountain College of Art and Design.
Rocky Mountain College of Art and Design is committed to academic integrity. Academic dishonesty includes cheating, plagiarism, theft, alteration or falsification of academic records or violation of any college, state, or federal laws or policies.
To commit or assist someone in committing academic dishonesty is grounds for disciplinary action and possible suspension or expulsion from the college. Students who observe or become aware of apparent academic dishonesty should report the matter to faculty or administration.
Plagiarism is a form of cheating. To plagiarize is "to steal and pass off the ideas or words of another as one's own, use a created production without crediting the source, commit literary theft, or present as new and original an idea or product derived from an existing source" (Merriam-Webster's College Dictionary, Tenth Edition, Springfield, MA: Merriam Webster, Inc. 1993). Plagiarism is intellectual theft, a serious academic offense with serious consequences to be determined by the instructor and Department Chair.
1. Unintentional plagiarism can occur if you mistakenly forget to identify the author and source of another's words or ideas, and may result in an "F" for that particular assignment.
2. Intentional plagiarism or academic dishonesty of an sort may result in an "F" for that particular assignment.
3. The second instance of intentional academic dishonesty may result in expulsion from the College.

Explanation of Reports due for this course: post reports at http://dimatrmcad.blogspot.com/ under the Post a Report Section. Just click Post a Comment, and input your report. Copy and Paste from Word, if you like.

REPORT # 1: RESEARCH AND REPORT ON A DIGITAL ARTIST WHO WORKS EXCLUSIVELY WITH PHOTOSHOP. POST A 500 WORD REPORT ON THIS ARTIST. DUE/JANUARY 30TH, FRIDAY, BY MIDNIGHT.

REPORT # 2/OPTION #1: RESEARCH AND REPORT ON A DIGITAL ARTIST WHO WORKS EXCLUSIVELY WITH BLACK AND WHITE DIGITAL PHOTOGRAPHY. POST A 500 WORD REPORT ON THIS ARTIST. DUE/APRIL 10TH, FRIDAY, BY MIDNIGHT.

REPORT # 2/OPTION #2: REPORT ON A VISITING ARTIST AT RMCAD, ARTIST AT A FIRST FRIDAY OPENING GALLERY EXHIBIT, OR FACULTY AT RMCAD WHO USES DIGITAL RESOURCES TO CREATE THEIR ARTWORK. POST A 500 WORD REPORT ON THIS ARTIST. DUE/APRIL 10TH, FRIDAY, BY MIDNIGHT.

Emergency Procedures
If there is a life-threatening emergency, the instructor or a student should call 911 directly, and then notify the Texas front desk. It is not necessary to notify the Texas front desk prior to calling 911.