Monday, 23 March 2015

AD4004 Evaluation


Evaluation

From this task, I have learnt that it is important to get across the main points of an investigation and fully explain them, instead of trying to write about every aspect. This is important because it makes sure that the points of a topic are strong and the writer can create a way for the reader to understand this topic through the points made. I have also learnt that research is vital in providing academic and valid references to an idea, and how to find examples of reliable research from different media sources.
I found the task to be indicative of the relation between word and image, helping me to convey researched thoughts in a format that felt comfortable to me. Because I am a part-time writer, I find writing easier to do than making videos, for example, as most of the time words can display more understanding than an image can – especially when it comes to finalising ideas from research of my topics. Though images can reinforce points of interest (as shown in my reports) crucial to understanding the subject matter. I believe that the images I have used represent their respective subjects in this way.
I enjoyed writing about my chosen topics as I found an aspect of each that I was interested in writing about, through further research. For example, in my “Gender representation in the media” report, I talked about the objectification of women in video games (being an art form that I frequent in) and through investigation I discovered the works of Anita Sarkeesian and the feminist view of this topic. I also enjoyed creating my own interpretations of what my chosen subjects conveyed, making a visual connection to my understanding of the research I undertook, as well as explaining the significance of the interpretation to the reader.
Working on my own allowed me to express my own ideas instead of the amalgamation of suggestions from the various members in a group scenario, which often cause disagreement and confusion. However, this format made me unable to bounce ideas off of other people to achieve a more accepted outcome for a project, as would be possible in a team. Although with this task, I was able to structure my time and make progress on the assessment when it suited me. It was also something that I could do in private, as space is important for any artist, and meant that I could relax when writing, alleviating the stress of peers and helping me to focus on researching and writing more fluently.

In conclusion, this assessment has helped me to improve my writing styles when explaining research, as well as how to find and describe research examples. I found it to be an enjoyable medium of expression of ideas and found a balance between word and image in my reports. The ability to work alone allowed me to demonstrate individualist ideas in my own time, as well as focusing on the writing and research without external interference.

AD4004 Report 4


Visual language and constraint



The artistic styles of different cultures represent a nation's personal visual language. Visual languages are a set of elements that appear consistently throughout forms of art, design or written langauge. One example of visual language native to Western countries would be the pictogram systems used in airports (ie. bag represents baggage claim).

Another good example comes from the coding systems of ancient cultures, such as those used in Egyptian art and hieroglyphs. Seen below is an image of a page taken from the Egyptian “Book of the Dead” and is a prime example of the combination of this sort of ancient code, alongside the images of gods and goddesses. (1) More modern types of visual language include a drawing or painting style used by an artist that is unique to them, and provides a form of coding that is personal and one that only they can interpret correctly.



The idea of 'constraint' in the art industry refers to any restriction that is placed on an artist, in terms of the medium or colour they can use, or specific instructions set by their clients. Artistic constraint is particularly evident in the comic genre, as comic book artists have to be restricted by page/panel size and borders, while attempting to illustrate a narrative.

However, a recent psychological study found that constraint is actually useful for generating ideas that would deviate from the norm for any kind of artist, making them think in a way different than what they are used to. (2) This includes the introduction of self-imposed constraints, such as creating deadlines, limiting material usage, or even working as a team. A person's art is limited to just one setting if they don't try new methods of controlling the production and themes of their work. Their abilities as an artist on the whole can improve through the imposition and practice of these sorts of constraints.



When an artist divulges into the reduction or application of formulae or elements in their art, in an effort to create new ideas or meanings (usually in the conventional comics format) is known as “generative constraint”. (3) A French group of artists that frequent in generative constraint are called the “Oubapo”. They work by creating new, interchangeable rules for their artists to follow when making comics. This results in the creation of unique works in terms of idea, medium, layout and story structure.

An example of the kind of generative constraint on artists happening in today's Western society comes from the adapted comic strip “Garfield minus Garfield”. (4) This strip is a revised version of the
original “Garfield” comic series – by removing the main character (Garfield) the reader is left to view the “existential angst of a certain young Mr. Jon Arbuckle” (Walsh). Through this simple self-imposed constraint, the artist has managed to isolate the thoughts and behaviour of the lonely human. This route is effective in demonstrating how a simple addition/subtraction can change the way we percieve a narrative and, to a certain extent, ourselves.







References



(1) Kinnear

(2) Cooper

(3) Madden

(4) Walsh




Bibliography



Cooper, Belle Beth (March 10, 2014). “Proof that constraints can actually make you more creative”. FastCompany [online]. [Accessed 23 March 2015]. Available from http://www.fastcompany.com/3027379/work-smart/the-psychology-of-limitations-how-and-why-constraints-can-make-you-more-creative



Kinnear, Jacques (2009). “The Written Language”. Ancient Egypt [online]. [Accessed 23 March 2015]. Available from http://www.ancient-egypt.org/_v3d/index.html



Madden, Matt (2013). “Oubapo: Comics and Constraints from France”. [online]. [Accessed 20 March 2015]. Available from http://wordswithoutborders.org/article/oubapo-article1#ixzz3QFWni88Z



Walsh, Dan (ongoing). “Garfield minus Garfield”. [online]. [Accessed 20 March 2015]. Available from http://garfieldminusgarfield.net

AD4004 Report 3

Gestalt and the use of shape and form

Gestalt refers to the psychology of orderly perception, meaning how we subconsciously perceive objects in the physical world. That we, as humans, want order in form, and how this nature can be exploited through art.

The principles of Gestalt explain this exploitation of shapes and forms in different ways. (1) There are five known principles that can help change order:-

Closure - when broken figures are automatically created as a whole mentally.
Proximity - when close shapes discover internal patterns.
Continuation - when our minds naturally connect hidden things.
Similarity - when similar shapes are grouped together.
Figure/Ground – when a figure is standing in front of a background.  (1)

Here, I have created a representation of a Gestalt figure, that demonstrates the example of the “closure” principle. I have disconnected the individual segments of the snake figure and have positioned it in a way that a second figure can be created from the negative space in-between. This means that there are two layers of closure - the broken figures coming together as a whole form, and the second figure being created mentally to occupy the remaining space. This representation shows a clear understanding of the methods used to shift a person's understanding of form through their perception of the image.

One instance of the use of negative space in modern art comes from artist Tang Yau Hoong, who takes advantage of negative space in images to create pleasing forms. As seen below, his works display two themes at once. For example, the top part of the image shows buildings that lead into the forest floor at the bottom, with the spaces between the buildings turning into trees. These kind of Gestalt works lead the viewer's eye to interpret both themes of the image at once, to create a unique message. (2)

In his book, “Language of vision”, Kepes explains several aspects of Gestalt theory. One of which he calls “The Sources of Colour Experience”, which attempts to explain the nature of colour and its impact on human psychology. (3)

Colour is an experience. Light and its distribution only becomes colour as it is being registered by the brain. The experience of colour has 3 notable sources:-
- RAW MATERIAL – The energy that is created and manipulated by the environment, including the movement and physical make-up of surrounding objects.

- SENSORY DATA – What we see, smell, hear, etc. from the experience. There are three different qualities of the sensation of colour. The first of which is “hue” (the actual colour of the object), the second is “brightness” (the intensity of stimulation from the object or environment) and the third is “saturation” (the measure of colour content of the object, which can be affected by the duration/intensity of the experience).

- MEMORY – The associations that are induced by similarities between sensory stimulation of the current experience with previous experiences. We experience colour stimulations during an experience with reference to the “object world” (Kepes) (3); as a consequence, an individual's memory of colour signifies the colour of objects.


                                    
References

(1) Todorovic
(2) Hoong
(3) Kepes


Bibliography

Hoong, Tang Yau (2008). “The Art of Negative Space”. [online]. [Accessed 22 March 2015]. Available from http://tangyauhoong.com/portfolio/the-art-of-negative-space/

Kepes, Gyorgy (1944). “The Sources of Colour Experience”. “Language of vision” [book]. [Accessed 20 March 2015].


Todorovic, Dejan (2008). “Gestalt principles”. Scholarpedia [online]. [Accessed 20 March 2015]. Available from http://www.scholarpedia.org/article/Gestalt_principles

AD4004 Report 2

Character and Archetype

A visual language that is represented in many different types of media is the archetyping of main characters in a story. Examples of these archetypes include the 'hero / heroine' (usually the protagonist), helper, loner and villain (usually the antagonist). (1)

For one of our in-lecture assignments we had to design a personification of the Illustration course. As seen right, I have drawn a squid character holding drawing utensils and wearing a broken crown, displayed as the traditional 'villain' stereotype. The squid's tentacles represent the several modules that are delivered throughout the course. The utensils represent medium experimentation within the first year, and the broken crown shows the course as an almighty ruler, but one that can always be overcome. The overall image demonstrates both the challenge and the freedom within the Illustration course. This example provides a clear representation of character and archetype.

One instance of archetype referenced in media comes from the idea of the ‘Byronic Hero’. This refers to the concept of a male protagonist who uses their strong passions and beliefs fearlessly and for their own ends – representing the characteristics of Lord Byron during his lifetime. (2) The character with these traits usually has past tragedies which he dwells on and proves him to be emotionally conflicted and self-critical.

Another is found in the form of internet 'trollers' – the name given to people who actively partake in the abuse of an online community with the intent of provoking a response, for their own entertainment. (3) There are several archetypes of people when it comes to internet trolling, each with their own characteristics used to achieve their goals.
            One category of a 'troll' is called a 'Snert' and is characterised by their active involvement in anti-social trolling, often harming others on social media sites or comments sections of websites affiliated with the person (i.e. YouTube). (4) This is one of the more common types of 'trolls' as hate comments can regularly be found across the internet, aimed mainly towards celebrities or other people of interest. These people can also create and spread rumours quickly that could end up ruining the target's career.
            A different method of internet trolling comes from 'Rippers' – people who participate in a kind of self-trolling to make themselves seem worthless or alone. These people hope to garner false empathy from other site users through them responding to these unrequited and borderline narcissistic pleas of attention. This in
turn makes the 'Ripper' feel better about themselves and more respected in the chosen community, unless the users chose to ignore them. On the right is an artist's representation of a 'troll'. As with all 'trolls' / 'trollers', the best course of action would be to simply ignore these characters and move on with more positive and constructive activities.



References

(1) Hull
(2) TvTropes
(3) Campbell
(4) Netlingo


Bibliography

Campbell, Timothy (July 13 2001). “Internet Trolls”. Internet Archive. [online]. [Accessed 18 March 2015]. Available from http://webarchive.org/

Hull, James. “Archetypes and the Hero's Journey” [online]. [Accessed 22 March 2015]. Available from http://narrativefirst.com/articles/series/archetypal-characters

Netlingo. “Troll: definition” [online]. [Accessed 22 March 2015]. Available from http://www.netlingo.com/word/troll.php

TvTropes. “Byronic Hero” [online]. [Accessed 26 January 2015]. Available from http://tvtropes.org/pmwiki/pmwiki.php/Main/ByronicHero


AD4004 Report 1

Gender and the representation of attitudes and cultural mores within visual culture

An important topic in today's gaming climate is the oversexualisation and degradation of female characters in video-games, stemming from the Feminist view of an unfair representation of their gender in this type of media. Anita Sarkeesian is a key speaker for this campaign for better gender representation, and has gained a large following over the argument of stereotyping women in games (1). There was a small amount of games
that showed a woman as the main protagonist in retro - or even early modern – video games. One of the only examples is the character Aya Brea from the 1991 PlayStation game; “Parasite Eve” (see left) (2). Even her appearance in this game was somewhat sexualised, though not to the extent of other early female protagonists, such as Lara Croft (Tomb Raider) and Athena (Athena). This means it is clear that during this time, video-game developers focused on making their protagonists strong, capable males, often moving female characters to secondary roles, or the object for the player to strive towards throughout the game.
            Anita Sarkeesian calls this the “Damsel in distress” trope (1). Characteristics typical of this trope are a kidnapped woman who is usually incapable of fighting, often dumb (or not as smart as the male protagonist), and in need of rescue – relying on the outside help of another character. The most classic example of a 'damsel' character in games, that Sarkeesian herself alludes to, is Princess Peach (Toadstool) from the Super Mario series. She constantly is kidnapped and becomes the focal point for most of Mario's adventures, typically seen locked up in a castle.

Leading on to the modern era of video games, women have seen a decrease in objectification and an increase in empowerment of female protagonists. However, with more female characters and better graphics, game developers have more opportunity to create sexually-provocative or gender-stereotypical protagonists.
            On the right is my interpretation of female objectification in modern video games, this example shows the protagonist Lara Croft, wearing revealing clohing in an anime style. This style has been used primarily in anime/manga but its traits seen on girls in this media are evident in modern video games (eg. Large breasts, slender frame, wide hips – contributing to a ‘Barbie-doll physique’). One example of this portrayal of women in games comes from 'Bayonetta' – the protagonist of which is a woman who is capable of killing godlike creatures and wears skin-tight clothing made out of her own hair (below) (3). This means that Bayonetta herself doesn't wear proper clothes, but the audience cannot see this – becoming an interesting example that balances between the empowerment and objectification of female characters.
            On the other hand, recent games and new remakes of older games have shown how game developers can create interesting and unique main characters, without the need to objectify their image. Some of these examples include one of the main characters from the 'Half-Life' series, Alyx Lynst, the new model for Lara Croft in the 'Tomb Raider' series reboot, and Faith from 'Mirror's Edge'. This proves equality in gaming is possible.






References

(1) Sarkeesian
(2) Road
(3) Shimizaki

Bibliography

Road, Brick (November 7, 2010). “Retro Heroines” [online]. [Accessed 9 March 2015]. Available from 

Sarkeesian, Anita (March 7, 2013). “Damsel in distress” [online video]. [Accessed 9 March 2015]. Available from http://www.feministfrequency.com/


Shimazaki, Mari (May 17, 2009). "Designing Bayonetta". PlatinumGames, Inc. [online]. [Accessed 11 March 2015]. Available from http://platinumgames.com/2009/04/17/designing-bayonetta/

Friday, 23 January 2015

Gestalt ambiguous figure task

"Gestalt Double Snakes"

For another of our in-lecture assignments we were given the task of designing a Gestalt-inspired ambiguous drawing.

I have created a double figure drawing of two identical snakes, entwined with each other. By using only black fine liner to create the image, I managed to invert the design within the negative space of the drawing. Another addition is the open-endedness of the negative snake's tail, which seeps into the white of the outside of the image. This gives a natural starting and ending point for the viewer.