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Jerry Marks Class Visit-IN 3-D! March 3, 2011

Posted by leskanturek in 3-D work, Anaglyph 3-D, Artists, Guest Visits, Subway/MTA Proposal, Visually Cool & Relevant.
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On his website, Jerry Marks is described as an “artist working along the border were art and science join…”   which is a good description of what you see when you enter his studio.  Part art studio, part laboratory of perception with maybe a little mad scientist thrown in (maybe a lot)  Jerry has been exploring the atistic applications of 3-D for a number of years. It’s really his passion and it comes through when he shows stereo images from the 19th century or a contemporary 3-D image experiment. Jerry’s work can be seen in books, music videos for the Rolling Stones, The 28th St. subway station, The New York Hall of Science , and theatre sets to name a few of the many projects he’s worked on . He is a accomplished 3-D silk screen printmaker, a teacher for many, many years , musican and has 3-D-ified everything from Bulwinkle to views of Venus.

At Jerry’s  Feb. 14th class visit to our concepts class he presented some wonderful 3-D eye candy,  a  powerpoint show of anaglyph photography and comics by  
Kim Deitch (It’s 4D!
) Bob Sikoryak (The Lost Treasure of the 3D!) , and Micheal Kupperman (Hercules vs. Zeus)


space(above) a 3-D panel from comic book artist Kim Deitch’s “It’s 4-D”.  Adapted for 3-D projection by Jerry.

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(above) “The lost treasure of the 3D”  art by by Bob Sikoryak

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(above top) An early virtual reality construction of the  mural at the 28th st. subway .  (directly above) ” 7 waves 4 twenty eight” the mural is built into glass blocks in which the curvature of the glass inside the block forms cylindrical lenses. ” Marks plans to use the lenticular (lens-like) properties of the block along with the appropriate lights, projectors, lenses, filters, in the space behind the wall to create a 3-D illusion art display. The mural will appear to move as you ride into the station”.

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After the powerpoint presentation Jerry took some time to describe the process of creating an anaglyph image in photoshop. In the next week or two they’re be a follow up post with the finished 3-D images done by the class.

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Anaglyph 3-D February 22, 2011

Posted by leskanturek in 3-D work, Anaglyph 3-D, Class Assignments.
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You are going to create a 2-D illustration that appears in 3-D when viewed through red –blue anaglyph glasses.

How anaglyph works (From wikipedia)

“Viewing anaglyphs through appropriately colored glasses results in each eye seeing a slightly different picture. In a red-blue anaglyph, for instance, the eye covered by the red filter sees the red parts of the image as “white”, and the blue parts as “black” (with the brain providing some adaption for color); the eye covered by the blue filter perceives the opposite effect. True white or true black areas are perceived the same by each eye. The brain blends together the image it receives from each eye, and interprets the differences as being the result of different distances. This creates a normal stereograph image without requiring the viewer to cross his or her eyes.”

There are many ways of creating an 3-D anaglyph image. Jerry demonstrated taking a photo with a digital camera that takes two photos at the same time. Each photo in the pair is unique mimicking the way your eyes view an image/scene. Your two eyes are not in the exact same place right? Your left eye views an object from it’s left side and the right eye is looking at that same object a little more on the object’s right side. After Jerry downloaded his pair of photos of the class he then reassembled/layered the photos on top of each using an application (he used split MPO) to position them. One layer was filtered for red and the other layer was filtered for cyan in photoshop.

(above) Jerry’s stereo 3-D photo of the class.   I think he mentioned using a Fuji W1 3D Camera but I will confirm this.

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Here is a link for a simple way to create a anaglyph image. Simplest Method of Making Anaglyph Images with Photoshop

The author in the demo is using a pair of photos but you will be using one piece of art and duplicating it to get your pair.

Above is a simple piece of line art I converted to 3-D using the step-by-step in the link.

  • I opened up my art in photoshop in RGB.
  • I duplicated the art onto a 2nd layer (label the layer left as an example)
  • I followed the instructions in the link  …“un-check the B and G check boxes” etc.
  • I moved the left layer over to my right about 5,6 hits of my right arrow key.
  • Put on your glasses and see what you got!

The image I created above “pops out”, but not really does it?  it’s pretty flat. That’s because there is no foreground or background. Look at the same image with additions to the background and after I selected the arm, and placed it on another layer. I shifted it a bit more to the right to get it more to the foreground.

Now it’s starting to look like a 3-D image right?  Your illustration, to capitalize on the 3-D effect will need an element/s in the foreground, a middleground and a background. How extreme, how subtle, etc. is where the artistry ,craft and planning comes in.

Jerry had demonstrated “skewing” an image to create depth in a selection. I’ll have more on that  shortly.

Experiment, make selections of different objects,for example a head, place it on a another layer and shift it over to make it pop out. Select a nose on the face-place it on a new layer and shift that over. see how much depth you can get in your illustration.

Google search Anaglyph 3-D images there are some very cool things out there!

 

Links you might find interesting:

Anaglyph-Wikipedia

Gerald Marks-Pulltime 3-D laboratories

The New York Stereoscopic Scociety

 

Motion in Art February 7, 2011

Posted by leskanturek in Art History, Student Blog posts, Student Post, Uncategorized.
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Post by  Leigh Cunningham

The concept of motion has been explored throughout history in the work of artists.  Depicting motion in art spans the range of two and three-dimensional pieces, and covers a broad spectrum of cultures and purposes. While traditional art works (drawings, paintings, sculptures and photographs) served only to capture a single moment in time, numerous artists have challenged these restrictions and ventured to convey a sense of movement, or a suggestion of motion over a longer interval of time.  One of the early artists to explore motion and a main sources for contemporary  artists interested in motion is the work of Eadweard Muybridge (1830-1904). Branching off of genuine intrigue and exploratory research, Muybridge began photographing animals in motion, and by1878 he had done a series of photographs capturing a horse galloping, thus providing accurate reference for illustrators of the time.

(above)  stills from Muybridge’s series, “The Horse in Motion

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Similarly, French artist Marcel Duchamp tackles the concept of motion through cubism,  using fractured parts of what would seemingly be a sequence of images to show a figure in motion.

(above left) Marcel Duchamp’s Nude Descending A Staircase 1912 (above right) Umberto Boccioni’s Unique Forms of Continuity 1913

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Motion has also been handled in sculpture, perhaps the most prominent being the works created during the Italian Futurist movement.  Italian futurism  was about glorifying speed and in some cases, the brutality of war, while also declaring a new way of life during a time saturated in new technologies.

Umberto Boccioni’s futurist bronze sculpture incorporates the idea of motion into a deeper connection between the subject and it’s relation to the space around it. His sculpture serves as a tangible work of art that relates every being to its surroundings.

 

Contemporary painter, Gerhard Richter appropriated the idea behind Duchamp’s Nude Descending A Staircase and painted Woman Descending the Staircase, as well as Nude on a Staircase. In both paintings, the subject is painted in a naturalistic way, giving a completely opposite feel to the original iconic painting of Duchamp. While the viewer still does not see every step, a feeling of unrest exists in the piece, suggesting that she(the subject)  is not a static element, but rather a component of the scene in its entirety.

(above left) Ema/Nude on a Staircase (Ema/Akt auf einer Treppe) (above right) Woman Descending the Staircase (Frau, die Treppe herabgehend)  www.gerhard-richter.com/

Research-Radiolab and This American Life February 1, 2011

Posted by leskanturek in Class Topics, Handout Sheets, Picture files and Reference, Researching for Art.
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Two of the smartest shows I know on NPR: Radiolab and This American Life… Both these shows are explore topics/themes that are researched and  presented in a thought provoking entertaining way.  Sound familiar?  This is just what your goal is when you create an illustration. Something peeks your interest, you research the topic and then develop a thought provoking visually entertaining piece of art.

Radiolab is hosted by Jad Abumrad and Robert Krulwich.  two hosts that have great chemistry together.  “Radiolab believes your ears are a portal to another world. Where sound illuminates ideas, and the boundaries blur between science, philosophy, and human experience. Big questions are investigated, tinkered with, and encouraged to grow. Bring your curiosity, and we’ll feed it with possibility.”   to quote from their site  http://www.radiolab.org/about/

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This American Life – ” The radio show and TV show follow the same format. There’s a theme to each episode, and a variety of stories on that theme. It’s mostly true stories of everyday people, though not always. There’s lots more to the show, but it’s sort of hard to describe. Probably the best way to understand the show is to start at our favorites page,”    http://www.thisamericanlife.org/

What I like about both of these shows is their honest exploration of a topic or hypothesis. The obvious answer to a simple question might be dispproved (along with your assumptions…who knew parrasites good be good?), sometimes the show is about solid detective work (why is that goat standing on a cow’s back?), other times episodes bring to light issues , people , and places you never knew existed.

If you become a listener to these two shows you will never again ask your self…what’s a good topic/idea to explore for my project/thesis…(promise)

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By the way…if you do want to know why that goat is standing on the back of that cow..listen to this.

Reasearch-The Library of Congress February 1, 2011

Posted by leskanturek in Class Topics, Picture files and Reference, Researching for Art.
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As an illustrator, you will be developing your own projects as well as collaborating with others on their projects. Authors, editors, creative directors, and art directors are all relying on your expertise to bring an idea to visual life. Researching your topic is one of the most important things you can do in developing an illustration. Gathering reference isn’t simply a matter of making sure your subject’s anatomy is correct but becoming enough of an expert on that subject so you can add integrity to your drawing/painting and know where you can take artistic liberties.  The Library of Congress ( LOC)  is an unbelievable resource for visual, and intellectual,research. A visit to the site will undoubtedly give you ideas and topics for projects for years to come. In many cases hi-res  files of the viewed image is available , ( you should be careful to read the copyright info, not everything is in the public domain).  Film, audio recordings… it really is a virtual treasure trove of information and imagery.

 

A 1910 photo of Dr. Doyen separating “Hindoo twins”,  collections of  baseball cards, What was in Lincoln’s pocket when he was assassinated?  All of the above and a lot more can be researched and viewed online at the Library of Congress’ site   http://www.loc.gov/index.html

Noir: Andrew S. Allen’s “The Thomas Beale Cipher” January 28, 2011

Posted by leskanturek in Animation, Class Discussions, Film, Narrative, Noir.
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Instructor Peter Hamlin e-mailed me about a wonderful piece of noir animation by Andrew S. Allen,  ” The Thomas Beale Cipher“. Take a look .

NOIR- Assignment January 26, 2011

Posted by leskanturek in Class Assignments, Film, Noir, Visual Narrative.
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(above) Left- Man Ray’s Cadeau 1921 (center) The Black Swan (right) Journey into Mystery

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You are going to  create/draw/paint etc. a Black & White narrative based on your 420 character story that we started in class. (For examples of 420 Character stories  look at illustrator Lou Beach’s wonderful site  http://www.420characters.com/     (420 characters is the maximum length of a facebook status update).

The length of your visual narrative is up to you and dependant on your  story.  It might be possible to create a great narrative in one drawing, you might need 2, 3 or 10 consecutive pieces or panels. It really depends on what will do your concept/story justice.     Don’t forget the possibility of working  in 3-D.

(above)  The Tragical Comedy or Comical Tragedy of  Mr. Punch Art by Dave McKean Writeen by Neil Gaiman

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Your finished piece is going to be submitted to faculty member Ben Katchor who is creating an  11″ X 17″  4 page newsprint tabloid. There are going to be 7 different tabloids all together. One to be distributed each day of the New school’s Noir Festival which will take place Friday, April 1, 2011 – Friday, April 8, 2011. This  is a judged submission situation — only about 26 strips and drawings will be used over the seven tabloids.

Your work can be designed to fill an entire 11 x 17 page or any portion of that size. It must be all in black and white (or grey tones)

Think of what we saw in class and the adjectives you wrote down to describe Noir.

  • Moral ambiguity
  • Personal viewpoints
  • Anti-hero
  • An innocent being accused
  • Surrealism

Try and distill the basic ideas away from the icon of a detective.

The visual clichés of 1940-50s film noir should be avoided. Think about work that expands upon the conventional idea of what “noir” imagery might be. The “noir” impulse can include cynical attitudes, absurd and dark situations,  extreme psychological conditions, quasi-documentary authenticity, and amoral or alienated behavior.

Good Luck  -Les

Making Money Assignment-Part 1 November 28, 2010

Posted by leskanturek in Class Assignments, Public art, Re-designing money.
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(above) Moneygami found at www.flickr.com/photos/closetheworld/sets/72157603796565739/

Everyday we all carry around, collect and barter…art. Money is after all illustrations and designs that we attach a very high symbolic value to.

We may perceive our money as staying the same graphically but in reality it has been constantly changing, evolving visually over the 234 years of the United States, along with the currency used all over the world. Re-designing American money has been in the forefront lately in an invigorated discussion on what our paper currency should look like due to new printing technologies making counterfeiting easier, and since the Euro has become the standard monetary unit in Europe drastically changing what each nation’s currency looks like. Has some part of a country’s national identity been erased by not having distinctly different money from it’s neighbors?

(above) The dollar that would have been in your wallet in the 1880’s

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While we’re used to seeing dead presidents/founding fathers and national symbols decorate US paper currency, there is a huge range of subject matter that appears on money in other parts of  the world; Indigenous peoples, insects, marine life, microscopic organisms, our solar system, elements of physics, the human body, and abstract designs to name a few.

At times in the history of money it has only been the artistic merit- the design and illustration on the currency that has given it value.  Artists are involved in creating and designing legal tender but also questioning it’s nature.

Artists have deconstructed it, (Shepard Fairey’s Obey money)  used it to protest, enhanced it’s artistic value and re-imagined it to more accurately reflect (for better or worse) contemporary culture.

For your next assignment you are going to illustrate/design 2 denominations of the same type of currency. back and front.  So you will have as an example a $5 and a $20 bill, or a $1 and a $100, but both bills should work within your concept. You will have on your note the denomination.

You have a lot of conceptual room here to mock, satirize, pay tribute to, comment on your subject /concept of choice.  You must have a concept that holds the series of notes together.

You can create currency for a fictional country, redesign US money, depict character and events fictional or real.

 

Your bills do not have to be rectangles, they can be round or any shape and material that makes sense with your concept. (ex: would currency for Atlantis be on seaweed or Sea shells?).

Bring in Sketches next week and we’ll further explore the topic. As part of your research google/look up the following:

Notgeld (google image search, there are quite a few sites) Below are some examples of Notgeld. Emergency regional money printed during the 20’s to counteract German inflation.

www.art-money.org/ (Artmoney is an International art project)

http://weburbanist.com/2008/12/14/art-from-money/

blog.eyemagazine.com/?p=543 19 Artists Design a New One-Dollar Bill from Avant Garde magazine 1969

Dollar ReDe$ign Project

Making Money-Part 2 November 28, 2010

Posted by leskanturek in Class Assignments, Public art, Re-designing money, Student work.
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Class Currency Project:

(above) Ray Masaki/ Poo Coins

(above) Kristin Chae/Kanye West, Pharaoh Williams

(above) Hope Weissman

(above) Tessa Lloyd/Amazon-Future Society

(above) Mi Young Shin/International Museums of Natural History

(above) Linnea Gad/Banana Money

(above) Taylor Grant/Art Money. With each denomination the artwork becomes more complete

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(above) Amelia Chia-Money Can’t Buy You…

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(above) Leigh Cunningham- Ocean Money (top)  and Mountain Money (bottom)

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(above) Loren Kang

More to come…

Stephanie Wunderlich-Class Visit November 28, 2010

Posted by leskanturek in Artists, Comics, Guest Visits, Handmade, Theatre.
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(above) Stephanie in class during her powerpoint presentation of her work.

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On Monday Nov. 8th German editorial illustrator Stephanie Wunderlich graciously came in to room 802 to speak, share her experiences,  and show some of her work to all four of the Soph. concepts classes.    Stephanie has clients both in the United States and Europe, which made for an interesting in-class discussion on the differences in art direction between the two.  Her illustration process involves  cutting and collaging paper and though Stephanie has worked all digitally at points in her career, the excitment of  traditional hand cut paper  is still the most attractive for her.

(above) The cover of  Spring #7   (right) a shot of Stephanie’s board in her studio.

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Stephanie is a regular contributor and collaborator for  Spring, a collective graphic magazine/comic published annually in Hamburg which  has contributions all by women. A few issues of this inspiring, 200 page. plus, illustrative, graphic experience  were passed around during Stephanie’s presentation.

(above) sing issues of Spring. below that is the June 08 issue of Spring /Alter Ego

(above) Stephanie holding a pop up book she designed and constructed to be used in the Play – Warum das Kind in der Polenta kocht (Why the child cooks in the Polenta) – for the theatre Schausspielhaus Hamburg.  Additional pop-up spreads are on the right.

Stephanie also discussed the process behind creating illustrations/props that were used in a play in Germany. Theater  there  is subsidized    by the government and Stephanie explained that this subsidy facilitated experimental theatre.

Danke für Ihren Besuch Stephanie! (Thank you for visiting)