2D Imaging Fall 2011 Project 1 - Multiple Image Compositing/Collage and Serial Imagery

Project 1: Create a series of self-portraits or of a subject study that are a collage or composite of several images. Include numer- ous other images. Derive ideas using idea maps and charts (see last page). The way the images of your series change, may serve to heighten the message/meaning. Your final iteration will be printed on the large format printer. Keep your resolution at 300ppi.

Photomontage is the process (and result) of making a composite photograph by cutting and joining a number of other photo- graphs. The composite picture was sometimes photographed so that the final image is converted back into a seamless photographic print. A similar method, although one that does not use film, is realized today through image-editing software. This latter technique is referred to by professionals as “compositing”, and in casual usage is often called “photoshopping”.[1] http://en.wikipedia.org/wiki/ Photomontage

Collage A collage (From the French: coller, to glue) is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole. A collage may include newspaper clippings, ribbons, bits of colored or hand-made papers, portions of other artwork, photographs and other found objects, glued to a piece of paper or canvas. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an art form of novelty. The term collage derives from the French “coller” meaning “glue”.[1] This term was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art.[2] http://en.wikipedia.org/wiki/Collage

Serial Imagery is a central idea of modern and contemporary art as well as new media art. The Im- pressionists and their contemporaries were the first to use it, for example Claude Monet in his Poplars, Haystacks or Rouen Cathedral. With technology, mak- ing multiple iterations is much easier.

John Coplans supplied the first critical ap- proach of serial imagery in an exhibition at the Pasadena Art Museum in 1968.

By Derek Gores http://www.foundshit.com/mixed-media-mo- torcycle-collage/ What are the key characteristics of Dada art?

* Dada began in Zurich and became an international movement. Or non-movement, as it were.

* Dada had only one rule: Never follow any known rules.

* Dada was intended to provoke an emotional reaction from the viewer (typically shock or outrage). If its art failed to offend tradi- tionalists, Dada writing - particularly Tristan Tzara’s manifestoes - proved a fine, nose-thumbing Plan B.

* Dada art is nonsensical to the point of whimsy. Almost all of the people who created it were ferociously serious, though.

* Abstraction and Expressionism were the main influences on Dada, followed by Cubism and, to a lesser extent, Futurism.

* There was no predominant medium in Dadaist art. All things from geometric tapestries to glass to plaster and wooden reliefs were fair game. It’s worth noting, though, that assemblage, collage, photomontage and the use of ready made objects all gained wide acceptance due to their use in Dada art.

* For something that supposedly meant nothing, Dada certainly created a lot of offshoots. In addition to spawning numerous liter- ary journals, Dada influenced many concurrent trends in the visual arts (especially in the case of Constructivism). The best-known movement Dada was directly responsible for is Surrealism.

* Dada self-destructed when it was in danger of becoming “acceptable”.

http://arthistory.about.com/cs/arthistory10one/a/dada.htm

Victorian era photomon- tages Kurt Schwitters http://homepage.ntlworld. http://homepage.ntlworld.com/dav- com/davepalmer/cutand- epalmer/cutandpaste/schwitters.html paste/intro.html

Raoul Hausmann http://paperstreetsupplies.com/art-and- artists/dada-collage-photomontage-by- raoul-hausmann/

Research Surrealism and ZINES Works by Robert Rauschenberg

“I really feel sorry for people who think things like soap dishes or mirrors or Coke bottles are ugly because they’re surrounded By akamundo by things like that all day http://www.zazzle.com/akamundo long, and it must make them miserable.”

http://www.pbs.org/wnet/ americanmasters/episodes/ robert-rauschenberg/about- the-artist/49/

Works by Eduardo Paolozzi

http://www.art2invest.co.uk/pop- up_images/elvis.htm Casey Williams, Tokyogaze III Explore Connections By drawing a conceptual diagram, you can create your own thesaurus. Start with a central word. Then, branch out in all directions, pursuing connections and word associations are widely as possible. In a sense, this approach lets you visualize your thinking, as the branches show the patterns and connections that oc- curred as you explored the idea.

Make a List Let’s say the assignment involves visualizing emotion. Start by listing every emotion you can, regardless of your interest in any specific area. Getting into the practice of opening up and actively exploring possibilities is crucial: Just pour out ideas! joy sorrow anger passion jealousy sympathy horror exaltation

From the list of emotions, circle one that looks promising. To move from the intangible name of the emo- tion to a visual solution, develop a list of the kinds, causes and effects of the emotion. Following is one example, using anger as a starting point.

KINDS CAUSES EFFECTS annoyance wrong-number slammed down phone call at 5am phone

smoldering rage friend gets award argument with you want friend

desperate anger fired from job shouted at your child

anger at self poor performance major studying on test

Sources: Type and Image: The Language of Graphic Design, Philip B. Meggs; Launching the Imagination, Mary Stewart