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The MFA in Visual Studies candidates and faculty throw open the doors of their Northwest Portland studios to present the work that the candidates have been doing and to familiarize the community with the program. The event will feature work that spans and addresses a wide variety of media, form, and concepts. Expect an evening of lively, engaging conversation, performances, and visual art. Food and libations will be provided.
Works by: Sarah Abbott, Christy Bailey, Stephanie Brachmann, Terri Bradley, Mary Mac Dahlke, Erin Dengerink, John Dougherty, Kiel Fletcher, Mario Gallucci, Thomas Gamble, Jonathan Gann, Michael Horwitz, Linden How, Timothy Janchar, John David Knight, Matthew Leavitt, Leif Lee, Daniel Long, Andrew Lorish, Travis Nikolai, Cristin Norine, Mark Palmen, Anya Roberts-Toney, Justin Schwab, Lauren Seiffert, Jessica Speiss, Edward Trover, Lindsay Williams, Rachel Wolf, Takahiro Yamamoto, Richard York, Stephanie Yu
November 16, 2012. Photographs by: Micah Fischer '13.
Live visual at Kazantip Festival in Ukraine played live with my homemade software CloneMixer 3.0
100% realtime and 100% generated graphics.
Video here : vimeo.com/48329794
This is a visual journal I'm making as I work through the book "Your Heart's Desire" by Sonia Choquette. I've decided to work differently than I usually do--I'm "prepping" the pages before I do the journaling instead of doing it all at the same time.
Pages done for Decorated Page Workshop, Lesson 6 Lists & Collections/Organic Shapes. I didn't paste down the one we actually chose, because it's in my husband's pocket so he can pick up the paint.
Die Fing'rs Girlfriends 2009 zeigen wie's geht - die neuen Kunstnägel von Fing'rs verleihen einen tollen Look und sind schnell gemacht!
I am Subhelic, a visual artist from Ormoc City, Philippines. I just recently graduated college with a a degree in Advertising and am taking a break to make art before I find work. www.jaamzin.com/blog/visual-artist-subhelic
Bouillet, Duval, Mertens, Vos.
"Betronic" visual identity workshop, Haute École Albert Jacquard, Namur (B), 2014.
I work for a software-development company. Since a month we are using a new system for process management, a variant of the SCRUM method, which is quite popular for software development nowadays.
All development tasks are split into small units of work of one or two days, and these tasks appear on a whiteboard as colourful post-its. Depending on the state of the task, these post-its are moved around the board until the task is finished, tested and approved.
In this way, the progress of the team and what everyone is doing can be easily seen on the whiteboard. This is called 'visual management' and does not use an automated system (which is quite odd for an ICT company).
ODC - Theme (26-04-2012): Just three colours
Preppin' visuals for the China tour in october. Controlling a patch I made in Quartz Composer from Ableton Live via MIDI.
My seminar student, Miki Fujimura, and I have theorised, in accordance with Naclanian theory, that Westerners and Japanese expect rather different things from the games that they play and analysed computer games accordingly. Japanese computer games have a high level of fantasy in their depiction - their visual aspect is simplified and idealised to the point of heros becoming very look-alike styliszed "characters" (in the Mario/Kitty/Kirby-esque sense of the word) but they offer interesting, branching, story paths, that resemble life (like the game of life or Sugoroku created by my wife pictured above). Western games on the other hand aim for highly realistic visual depictions to the point where it almost feels like the game is real but simplified idealised stories where basically all of them consist in a battle-field where one shoots and kills a lot of enemies, and that is it. That is to say the Japanese want realism in the linguistic (story) aspect of the game, but idealisation in the visuals, whereas Americans want realism in the visuals, but simplified idealisation in the story. In line with this, the area in which one can choose is also limited by their respective realism. While Japanese games (like the sugoroku above) have realistic stories one often is constrained by them. In the game above there are different game paths but no choice as to which path one can take. One is however offered a wide in the visual aspect of the variety of characters that one can become. In Call of Duty, I predict that there is a wide variation in the routes one can take through the battlefield but I hypothesise that the number of people one can control is very limited.
Todays notes come from an online workshop from VizthinkU on visual notetaking, featuring Austin Kleon, Mike Rohde, and Sunni Brown.
Facing of the John Labatt Visual Arts Building at The University of Western Ontario.
September 16, 2011
Photo: Douglas Keddy
Test Card 8.5x11 for a black & white photocopy machine / 1998 / SML Graphic Design
Assignment
Art 366a Visual Studies
Fall Semester 1998
T-TH 1:30-3:20, 215 Park Street
Paul Elliman, Instructor
paul.elliman [at] yale.edu
1. Testcard
(Week 1-2) Devise a testcard, 8.5x11, for a black & white photocopy machine
The card is basically a set of questions or exercises - point, type specimen, line, pattern, half-tone, grey-scale spectrum, moire - designed to test the machine's effectiveness or value.
The testcard should explore not only the effective (proper?) function of the photocopier, but also any other qualities (Test the limits of its language/your language)
Investigate both the history and teh working mechanics of thsi machine, then (week 3-4) extend the scope of the testcard to include this kind of informaion.
Process (42 pages)
+ 2: Research: The Atlantic Monthly: 2006-02: pp.64: Copies in Seconds by David Owen
+ 3: Research: The Atlantic Monthly: 2006-02: pp.65: Copies in Seconds by David Owen
+ 4: Research: The Atlantic Monthly: 2006-02: pp.66: Copies in Seconds by David Owen
+ 5: Research: The Atlantic Monthly: 2006-02: pp.67: Copies in Seconds by David Owen
+ 6: Research: The Atlantic Monthly: 2006-02: pp.68: Copies in Seconds by David Owen
+ 7: Research: The Atlantic Monthly: 2006-02: pp.69: Copies in Seconds by David Owen
+ 8: Research: The Atlantic Monthly: 2006-02: pp.70: Copies in Seconds by David Owen
+ 9: Research: The Atlantic Monthly: 2006-02: pp.71: Copies in Seconds by David Owen
+ 10: Research: The Atlantic Monthly: 2006-02: pp.72: Copies in Seconds by David Owen
+ 11: Research: The Atlantic Monthly: 2006-02: pp.73: Copies in Seconds by David Owen
+ 12: Research: Anatomy of a Xerox test card
+ 13: Research: Anatomy of a Xerox test card
+ 18: Xerox: Historial Highlights: 1
+ 19: Xerox: Historial Highlights: 2
+ 20: Xerox: Historial Highlights: 3
+ 21: Xerox: Historial Highlights: 4
+ 22: Xerox: Historial Highlights: 5
+ 23: Xerox: Historial Highlights: 6
+ 24: Xerox: Historial Highlights: 7
+ 25: Xerox: Historial Highlights: 8
+ 28: Research: Basic Copier Operation: 1
+ 29: Research: Basic Copier Operation: 2
+ 30: Design: The working of a xerox machine: 1
+ 31: Design: The working of a xerox machine: 2
+ 34: Research: Basic Copier Model: 1
+ 35: Research: Basic Copier Model: 2
+ 36: Design: Anatomy of a Basic Copier
+ 37: Design: The Basic Copy Process
+ 38: Design: Anatomy of a basic copier
+ 39: Design: Anatomy of a basic copier
+ 40: Design: The Basic Copy Process
+ 41: Design: The Basic Copy Process
+ 42: Design: The Basic Copy Process
SML Copyright Notice
Copyright 1998 See-ming Lee / SML Flickr / SML Universe. All rights reserved.
Photo Title: Visual Acuity
Submitted by: Erick Mhando
Category: Professional
Country: Tanzania
Organisation: KCMC Eye Department Outreach program
COVID-19 Photo: No
Photo Caption: Visual Acuity taking on albinism
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Photo uploaded from the #HopeInSight Photo Competition on photocomp.iapb.org held for World Sight Day 2020.
Visual Artists – Photo by Hulleah
Huyana Mumby (Powhatan/KonKow/Tlingit/Dene)
Tisina Parker (Southern Sierra Miwuk, Mono Lake Paiute, Kashia Pomo)
Emmanuel Montoya (Apache)
L. Frank Manriquez (Tongva)
Keith Secola Jr. (Ute/Ojibwe)
Programación para artistas visuales con Processing en CAMON Madrid Obra Social CAM
Processing es uno de los lenguajes de programación más utilizados en las artes visuales. En los últimos años se ha convertido en la herramienta de referencia para crear instalaciones interactivas. Permite integrar imágenes, vÃdeos, sonidos, cámaras, sensores, motores de fÃsica y partÃculas, elementos 3D... Su potencia y flexibilidad se combina con la facilidad de aprendizaje, y lo mejor de todo es que el curso no precisa de conocimientos previos.
Programa
En el transcurso del curso se cubrirán los siguientes temas: geometrÃa básica, color, imagen, vÃdeo, tipografÃa, captura web, visión artificial básica, interactividad básica con ratón y teclado. LibrerÃas básicas de sonido y fÃsica.
A quién va dirigido
Está destinado a todos aquellos artistas visuales, creadores de instalaciones, diseñadores, escenógrafos, etc... que quieran introducirse en el mundo de la programación interactiva paso a paso.
Ponentes
Miguel Espada y Carlos Gregorio