Week_7_Scanograms

Scanograms!

https://www.youtube.com/watch?v=iVs-DlNC7Jg

A scanogram is the digital method of producing a “contact” image, reminiscent of a photogram. The first photograms were made by photographic pioneers, William Henry Fox Talbot and Anna Atkins in the mid-1800s. Photograms are made by placing objects on sensitized paper, exposing the objects and paper to light, and processing the paper to reveal the print. A camera is not necessary for the production of this type of graphic image; and the result is more like an abstract impression of the object than a highly detailed rendering. Like a photogram, a scanogram is made by placing objects on the “sensitized area,” or the scan bed, where the surface is exposed to the digital capturing devices that generate a file.

William Henry Fox Talbot

Scanograms are a simple and contemporary counterpart to the photogram.  Consider some of the following:

Artist Willie Cole- (sculptures made from individual objects)

For our scanograms, we will be using the scanners to "capture" our objects, then from there, we will use photoshop to create duplicates, alter, warp, distort, skew, colorize, lower and raise opacities, or us any other effect you like to produce different patterns. 

Using the scanner.

Go to Applications and find the "image capture" application

After you open image capture, if you see a blank gray screen like this,  click on "show details" at the bottom right of the screen.

The scanner will begin by creating an overview "full bed" scan of the object or document you are trying to capture an image of.   At this point, you will also want to select the type of file you wish to create (tif., jpeg, etc.) and also you can tell image capture what to name the file and where to place the file once the scan is complete.   In the example below, the name of the files will be Scan. filetype, Scan1.filetype, Scan2.filetype, Scan3.filetype,  and so forth... also note that these images will be placed in the "Pictures" folder on the computer.   You may prefer to designate them to the desktop while active and working with them, then place them into designated folders afterward

After the "Overview Scan" image is complete, and to capture a specific range of the scanner's surface area, click on the "use custom size" then click and drag a rectangle around the area you wish to scan.

Last, but not least, you need to select a resolution for your image.  If you want to print a 300 dpi image at 8x10 of your document area,  and the cropped document area is 4x5, then you will have to scan at 600 dpi. 

Resolution for printed images

Resolution is measured in dots or pixels per inch (dpi or ppi). The resolution of the scanned image is a necessary factor in the final print or on-screen output. In consumer or prosumer situations, such as personal ink jet printers or laser printers at stores like Kinkos or Costco, the print will look fine at a resolution of 200 to 300 dots per inch. In professional print environments, the rule is simple: ask the printer for the print specifications including file resolution and color space.

Resolution for screen presentations Any image that will be used on-screen, for instance on a website or in a video, will need to be saved only at screen resolution, or 72 dots per inch. The file size is directly connected to the amount of pixels saved in each inch of the bitmap or raster file. Image files saved at screen resolution are much smaller in file size than images that are saved for printing.

To determine the resolution to enter into the scanner software, simply acknowledge the size of the object on the flatbed, then decide how large you want the object to print on the page. If the object is, for example, 4 by 5 inches and the objective is to make a 4 by 5 inch print, scan the object at 200 – 300 dots per inch. If you want to make an 8 by 10 inch print, either scan the object at 300 dpi and increase the scale to 200 percent, or scan the object at 600 dpi at 100 percent scale.   Enough already!!!!

But wait.  One more thing: File formats such as JPEG, PNG, and PDF are used to compress the size of the file, and therefore often result in a loss of digital information. File formats such as TIFF and PSD are less “lossy” (the image does not lose digital information due to compression), and are therefore better format choices if the intent is to manipulate the image in an editing program such as Photoshop.  I will use Tiff.... this makes a larger file size, but after the image is complete in photoshop, then you can save it as a jpeg for printing, or alter the image to 72 dpi for easy publishing on the web. 

SCANOGRAMS!!!

IN CLASS ASSIGNMENT:

Research different types of pattern.  Tesselations, Alternating patterns, flowing patterns, progressive patterns, Radial Patterns, All over patterns, fractal patterns, spiral patterns.    Post at least 8 images of patterns that you find inspiring to your blog under a new post named "Week 7: Scanograms" 

Artists to look at: Victor Vasarly, Bridget Riley

Project 07_Scanograms

Scan one, or several objects to see how they work with the scanners.  Some objects may capture better using the image capture and epson scanners.   Select an object to create your scanograms.  Using the pen tool, cut the object out.   Then, you will create the following 

1. Scanogram-using the initial object to create a complex pattern.  Altering the opacity, applying filters, gradients, and transforming the initial object to create the new pattern.   Create Sketches (either digitally, manually, or by being inspired from an image you found in your research) ....show them to me before you leave class.

2. Scanogram II- use the initial object to create another object.  Rehash the initial object by appropriating it into a representational "new" object.  You may research images online or use your drawing skills to show me the possible final project.  Please show me your ideas before you leave class so I can make comments and suggestions before you begin work.

Some tools you might wish to use.  Please watch (even if you don't use the gradient or paint bucket)

GRADIENT:

PAINT BUCKET: 



Blending Modes

Midterm Assignment

For your midterm,  please upload images of the work you have created so far in digital foundations.  This Blog will act as a sketchbook of sorts. You could/can have notes on your blog, you can have images of inspiration that you used to create works over the past six weeks.  All this can be helpful to you after this class is over as you might stop working in some of the Adobe platforms, but then need to come back to them in your career.   

At a bare minimum, you should have brief descriptions of these projects along with the images.   You can turn in your blog addresses to me on Monday.  Here are some examples from previous classes for you to look at. 

http://digitalfoundationkevinwon.blogspot.com/2015/10/week-3-colorhttpsdrivegooglecomopenid0b.html

http://larosewalt.blogspot.com/2015/10/this-is-what-ive-done-for-week-1.html

Introduction to Photoshop

Introduction to Photoshop

Please watch this quick beginner's overview tutorial before we start working in Photoshop.  It will help you in becoming familiar with the basics of the workspace and the potential functionality of the application.

SHORTCUTS:

Here is a list of shortcuts for reference.  Many of the shortcuts used in Illustrator will transfer to Photoshop, but there are also many different tools used in Photoshop.  So, this is being placed here as a reference. 

THE WORKSPACE:

The Photoshop work area appears as shown in the following illustration.
Image from Adobe Photoshop Classroom in a book.   

A. Menu bar
B. Options bar
C. Tools panel
D. Mini Bridge tab
E. Timeline tab
F. Workspaces menu
G. Panels

The Photoshop user interface is very similar to the one in Adobe Illustrator^®, Adobe InDesign^®, and Adobe Flash^®—so learning how to use the tools and panels in one application means that you’ll be familiar with them when you work in the others.  (Photoshop Classroom CC)  There are a few minor differences between what you have learned in Illustrator and Photoshop.  The selection tool in Illustrator is usually called the move tool in photoshop.  You will be making selections with the Magic Wand tool, and the selection tool in Photoshop. Although the Magic Wand looks exactly the same.   It is much different. 

For our first exercise we will be straightening and cropping.  Download the following image to your desktop. 

Before we begin, and to make sure we are all looking at the same version of photoshop.  We will restore settings to the default settings.  Later on, you might want to create custom settings to your liking, but for now.  Let's use the factory default. :) 

To restore preferences quickly using a keyboard shortcut: Press and holdOption+Command+Shift (Mac OS) as you start Photoshop. 

In class exercise.   Straightening and touching up a photo. 

1. In the Tools panel, select the Crop tool 

2. In the options bar, choose W x H x Resolution from the Preset Aspect Ratio menu. (Ratio is its default value.)

3. In the options bar, type 7 in for the width, 7 in for the height, and 200 px/in for the resolution.

4. Click Straighten in the options bar. The pointer changes to the Straighten tool.

5. Click at the top corner of the photo, and drag a straight line across the top edge of the photo.

Adjusting the color and tone

You’ll use Curves and Levels adjustment layers to remove the color cast and adjust the color and tone in the image.

1. Click Curves in the Adjustments panel to add a Curves adjustment layer.

2. Select the White Point tool on the left side of the Properties panel.

Specifying a white point changes all the colors in the image. To set an accurate white point, select a white area in the image.

3. Click a white stripe on the girl’s dress.

1. The color tone of the image changes dramatically!

4. Click Levels in the Adjustments panel to add a Levels adjustment layer.

The Levels histogram in the Properties panel displays the range of dark and light values in the image. You’ll learn more about working with levels in Lesson 5. Right now, you just need to know that the left triangle represents the black point, the right triangle represents the white point, and the middle triangle represents the midtones.

5. Drag the left triangle (blacks) under the histogram to the right, where the blacks are more pronounced. somewhere around .15? 

6. Drag the middle triangle a little to the right to adjust the midtones. The value should be about .90.

Creating a still life using Photoshop

Assets to create a still life are located on the server in our classroom folder.  using the

images you will create a still life.

Example:

Outside Assignment:

Create your own still life in photoshop.   Format is up to you.  Can be in landscape or portrait mode. 

You must:

- use at least five sources--several of which you can obtain from the internet and (at least) two of which are "authored" by you--meaning you will use your camera, a friend's camera, or take photos using a good quality cell phone camera (6 megapixels or better is highly recommended).   

- have at least one reflective surface.  Remember using the warp, distort, or skew tools under "edit" and adjusting  opacity of these layers to create a visually convincing reflection. 

you will be turning in the still life, AND the assets (images) you used to composite your final still life.  So, begin by creating a folder with all your image assets.  Then place your finished file in this folder.

*pay attention to shadows, light contrast/values, and overall composition. Do you need to repeat objects, colors, shapes to have better unity/harmony? Is there enough variety to keep the composition interesting?  How is the relationship between positive/negative space.  Does the composition seem empty, or is it engaging? 

NOTE:  When downloading images from the internet, look for higher quality, larger pixel dimensions in the photos.    This will prevent any pixellation in your final file. Remember back to week one and two when we discussed how to use "search tools" to find higher resolution images.   See image below. 

Sample Student Work.  Note the reflective surfaces.   Which objects are real, and which have been added? 

Week 5 _ Text in Illustrator

Adding type

Type features are some of the most powerful tools in Illustrator. You can add a single line of type to your artwork, create columns and rows of text, flow text into a shape or along a path, and work with letterforms as graphic objects. In Illustrator, you can create text in three different ways: as point type, area type, and type on a path. 

KEY TERMS

The first step to perfecting any new font is adjusting the leading, kerning and tracking, which affect the line spacing, letter spacing and text to create a smoother flow between letters and lines of a paragraph

LEADING-named because of typesetting printing of the past, leading refers to the vertical spacing between line of a paragraph.   In old print methods, small bars of lead were placed horizontally between the lines to create a distance between text.

KERNING: Kerning refers to adjustments made to horizontal spacing between select letters.  In Illustrator you don't actually select a set of two letters, but place your text selector between the two letters, then adjust.


TRACKING-Tracking refers to the spacing between all letters of particular selected area of text.  Very similar to Kerning, but the effect is applied globally to all the letters of the text area.

CLICK HERE FOR FUN!!! 

In Class Demo:
Type tool (point)
Type tool (area)-linking text to another type area
Placing Text
Linking text areas to one another.
Using envelops to warp text;  make selection, envelope (top right of control panel) 

TEXT EFFECTS VIDEO

Threading text between text areas.


On your own time:  If you are interested in more text effects and unique ways to work with text and text effects,  here is a list of 80 text tutorials with images that might interest you.   This is only placed here as a reference for you after the class.   You might want to research these for your poster design.

Click here to view the 80 Text Tutorials

Other tools:
Blending modes
Magic Wand Tool

scale, sheer, re-shape tool
-width, warp, pucker, etc.... tools
-free transform tool
-live paint, live paint selection (object>livepaint>make) -blend tool
-symbol sprayer tool 

In Class Assignment: Calligrams

Calligram

kaləˌɡram/

noun.  a word or piece of text in which the design and layout of the letters creates a visual image related to the meaning of the words themselves.

-Illustrate 9 of the following words into a Calligram.  You must create shapes and edit beyond normal type. 

*smile 
*drip
*bite
*fall
*fat 
*skinny 
*squeeze 
*fly 
*fire 
*water 
*grow 
*shrink
 *giraffe
 *turtle 
*shrimp 
*zombie 

LIVE PAINT: 

live paint, live paint selection (object>live paint>make) 

MORE TOOLS

-Blending modes
-Magic Wand Tool 

-scale, sheer, re-shape tool
-width, warp, pucker, etc.... tools
-free transform tool
-symbol sprayer tool 

-blend tool

Outside assignment:

Project 05_Poster Design and Typography

Think back to the deco and bauhaus research we did early on in this class. 

Create your own favorite movie poster design or rock concert poster.  A minimum of three lines of text--including: 

1. Band or Movie Title

2. Location or "In Theaters Everywhere" 

3. Dates of Importance

4. Production company

Any other information that should be included such as a slogan or alias..."The King of Pop," "You'll never feel safe after dark again!" 

Do not copy the original poster.  Design your own.  You may use any and all tools that we have gone over in Illustrator. 

11X17 (1/8 inch bleed, CMYK, 300 dpi.) 

1. Consider typography.  How does the type drive your poster?  
2. What about color?  What effect do you want the viewer to have on the viewer? 

2. Does the type fit the poster that you are trying to make?

3. How will you organize the type on the page? 

4. How large does the type need to be?  Should the title be larger than the actors? 

5. When does the movie open?  What other pertinent information do you need to include for your poster design? 

You may research and submit to one of the poster design contests that are available to students online. 

Due MONDAY. 

Week 4_ Gradient Mesh Tool

Introductions to the Gradient Mesh.  
I will be doing a long demonstration to these tools.  But, here are a couple tutorials for you, in case you need to refresh or refer back to these.




In Class Assignment: 
Use this image to create the apple using the mesh tool.   We will be doing much of this together.  

In Class Assignment: Using the gradient Mesh tool,  create an volumetric image of the apple using the gradient mesh tool. 

Use the gradient mesh to create the irregular shape of the coffee cup handle in the following tutorial.

http://design.tutsplus.com/tutorials/working-with-irregular-shapes-in-gradient-mesh-in-adobe-illustrator--vector-22499

Outside Assignment:  Using the Gradient Mesh tool, create a self portrait, based on a photograph.   

If you run into some specific problems, here is a list of tips and tutorials on using the gradient mesh tool in illustrator that might be able to help.

Remember to keep the form simple.  We are making an illustration... like an "anime" version of yourself.    Here are some examples from previous classes.   Notice how the portrait is built up from a background forward.  Use the gradient to give the head the volume.   You can then use gradient mesh to add in features (mouth, nose eyes, etc) and you can build up from there.

http://design.tutsplus.com/articles/22-fun-gradient-mesh-tutorials-in-adobe-illustrator-for-beginners--vector-22544

Week_3_Color

Understanding color

There are many ways to experiment with and apply color to your artwork in Illustrator, Photoshop and InDesign. As you work with color, it’s important to keep in mind the medium in which the artwork will be published, such as a print piece or a website. The colors you create need to be described in the correct way for the medium. This usually requires that you use the correct color mode and color definitions for your colors. The first part, color modes, will be described next.

Exploring color modes

Before starting a new illustration, you should decide which color mode the artwork should use, CMYK orRGB.

• CMYK—Cyan, magenta, yellow, and black are the colors used in four-color process printing. These four colors are combined and overlapped in a screen pattern to create a multitude of other colors. Select this mode for printing (in the New Document dialog box or the File > Document Color Mode menu).

• RGB—Red, green, and blue light are added together in various ways to create an array of colors. Select this mode if you are using images for onscreen presentations or the Internet.

When creating a new document, you select a color mode by choosing File > New and picking the appropriate profile, such as Print, which uses CMYK for the color mode. You can change the color mode by clicking the arrow to the left of Advanced and making a selection in the Color Mode menu.

 

Check out

PETER PIPER'S PALETTE PICKER 

which provides an explanation of the hexidecimal system that Adobe uses when numbering colors in an RGB environment. 

All Color has 3 main properties

1. Value-how light or dark a color is
2. Intensity or chroma-how prismatic or pure a color is
3. Hue-what color is it?   Red, Blue, Green, etc.

Key Color Terms

Achromatic – Having no color.

Achromatic grays – Grays mixed from black and white only. Achromatic grays appear to have no coloration.

Additive color – Color as seen in light. Red, green and blue-violet are the additive color primaries. When mixed they produce white light.

Analogous colors – Closely related hues adjacent to each other on the color wheel.

Chromatic - Having color.

Chromatic grays – Grays mixed from colors rather than black and white.

Complementary colors – Colors that share no common hue and lie directly opposite each other on the color wheel.

High key – refers to colors that are light in value.

Hue – The name given to a color based on its position in the spectrum and its wavelength. The common name of a color.

Low key – Colors that are predominantly dark.

Monochromatic – One color or a color scheme based on one color.

Muted color – Colors that have lost saturation in mixing, but whose parent colors are still easily identifiable (blue-green or red-orange).

Primary triad – In subtractive color red, yellow, and blue from which (theoretically) all colors can be mixed.

Prismatic color – Pure hues that represent the spectrum colors at highest saturation.

Saturation – Intensity or chroma. Saturation refers to purity of hue.

Secondary triad – In subtractive color orange, green, and violet. The three colors equidistant from each other on the color wheel made by mixing pairs of primaries.

Shade – Mixing black with a color.

Simultaneous contrast – The tendency for complementary colors to intensify each other when juxtaposed.

Spectrum – Pure colored light as seen with a prism or in the form of a rainbow.

Subtractive color – Color seen in pigment as a result of reflected light.

Temperature – The relative warmth or coolness of a color as determined by its hue (blue is cool, orange is warm).

Tertiary colors – Intermediate colors created by combining a primary with a secondary color.

Tint – White mixed into a color.

Triad – Color scheme involving any three hues equidistant on the color wheel.

Value – The relative lightness or darkness of a color.

If you need more information about color theory, here is a very comprehensive color introduction that I give to Color Foundations Classes. 

Color intro from Thomas Everett Green

Assignment:

In Class:

Take the color challenge

http://www.xrite.com/online-color-test-challenge

Take a screenshot of your results!!!

BOYS VS. GIRLS

Then: 

Complete Exercises 1, 2, 3, and 4 from the digital foundations wiki page:

http://wiki.digital-foundations.net/index.php?title=Chapter_5_CS6

Review the following Color Schemes (Harmonies)

Monochromatic Color Scheme-only one color (and shades and tints of that color are used).  This color scheme is very low contrast (within color) and can convey a very emotional effect. 

Analogous Color Scheme-is also a lower contrast color scheme, and can also convey emotions, moods, and temperature. 

Complementary Color Scheme-very impacting and exciting, high contrast scheme. 

Split Complementary Color Scheme-very high impact, exciting, less obvious. 

Tetrad Color Scheme-can still be as impacting, but more complex relationships can develop.   It's not obvious to the viewer the color scheme being used. 

Triadic-equidistant medium Contrast color scheme.  Still provides some excitement, but not as engaging as complementary or tetrad schemes. 

Square Color Scheme equidistant medium Contrast color scheme.  Complex color scheme. 

Contrast can be achieved in many different ways. 

Project 3:  

1. Take 5-10 digital photos of the architecture on MCA campus.  Look for areas that are visually interesting and have lots of angles, shadows and shapes.   You may use any of the tools that you have used so far in Illustrator. Use one of the harmonies we have suggested above, 

Or by creating your own palette based on one of Itten's color contrasts.

CLICK HERE TO SEE THE VARIATIONS OF COLOR CONTRAST

2. Select an image and create a new 11x17" document with 1/8 (.125") bleed.  

3. Place and lock that file in illustrator, then recreate that image

The most important thing you will need to consider for your works to be successful is the use of value. If your values are not correct, the work will not have the believe-ability of works that have taken value into consideration. 

Previous student work. 

Complementary Contrast (blue-green and red-orange) 

Warm Cool color Contrast

Mono Chromatic 

Homework for tonight:  Watch the following tools and tricks that we will be using in our next assignment. 

also, please watch!!! : 

DEFINE A PATTERN IN ILLUSTRATOR