Image 1. I chose this work because the artist uses collage and arrangement to create a story. The direction of lines breaks the composition up into compartments, which are all good examples of transitions from one section to another (ex. the thread the parrot is holding). Together, the different compartments of the composition portray the impending motion created by a contraption.
Cons: limited potential for layering, surprise, and discovery
-it does not open or close, therefore it is not accordion in form and does not reveal or conceal
Image 2. Duchamp's suitcase provides a method of folding that could be used. His works, made into miniatures, create a continuous narrative of his body of work by being logically organized in the suitcase. By opening the suitcase, almost like a display poster board, the 'reveal' concept is fulfilled, while 'conceal' can be applied when it is closed. It also began to make me think about the exterior of my book.
Cons: the number of folding options is limited
Image 3. Korzer-Robinson creates a narrative by use of layering. The artist uses repetition of form and subject matter at various depths to create a unifying connection and a three-dimensional sense of depth.
Cons: there is no focal point
-potentially has too many layers and is too complex to fulfill 'less is more'
-does not have accordion format and does not open or close
Image 4. The same artist uses the reveal and conceal concepts by utilizing negative space that allows a hidden peak of the images farther in the background. The use of negative space also draws the viewer in, encouraging one of the objectives of discovery.
Cons: difficult to achieve a balance between positive and negative space
-does not have an accordion format and does not open or close
Image 5. This work made me consider the use of symmetry to create transitions on a page or when transitioning from page to page or front to back. The symmetry also allows for visual harmony via repetition of anatomical parts.
Cons: lack of contrast which could slow the visual speed and stop the visual movement
-does not have an accordion format and does not open or close
Image 6. Dettmer's composition surprises the viewer by its implied movement. The layering effect of encyclopedia books and the implied 'wheel shape' created by its endings, result in a form that appears to be moving.
Cons: is unable to open or close
-is lacking any interactive elements
Image 7. Artist Hedi Kyle uses different layers of paper to create transitions and allow for each page's subject or text to be integrated with one another. Her technique of paper folding could also be using for creating envelopes or pockets as part of an interactive composition.
Cons: it does not use or is a part of an accordion format
-no three-dimensional attributes, so it can only be used for paper and folding methods w/ in the book, not exterior construction
Image 8. The artist uses a powerful repetition of text to create a cover page that the viewer will remember. Like the beginning of a narrative, the way that the book looks at the beginning should draw the viewer in. This image helped me realize the importance of how I will choose to begin my narrative or how I will design a cover, if I have one.
Cons: no interactive elements, accordion format, concealment, or actions of opening or closing
Image 9. I chose this image because of the way many objects are organized into boxers, small compartments, and sleeves. By having different options for organization and interactive elements like pockets, I could have the potential for both unity and variety.
Cons: the visual movement is stopped due to the complexity caused by the amount of object (subject matter) there are
Image 10. The artist combines a sculptural cover- that is different from that of the material in the book-with a series of images that follow. By adding the modeled cover, the piece is unified because the outside of the composition literally pulls you inside, into the building where you begin. This reveals and conceals the events going on inside of the book and also combines 2D and 3D elements.
Cons: there are no interactive elements
-lacking elements of reveal and conceal, aside from the beginning of the bok
Image 11. This well-known Chinese artist created a pop-up rendition of one of his sculptural installments [Head On] that I chose because of the way the pop-up is attached to the surface and the form it creates overall [an arch of sorts]. This helped me to begin thinking about how I could create pop-ups and how I could actually craft them.
Cons: does not include any text
-the collage is minimal because all of the objects in the composition are the same-hence, it lacks variety
Image 12. This work applies to the challenge because it is dynamic and has a form that surprises the viewer. It uses an unexpected exterior and has a different form [circle] for the main pages, rather than the typical rectangular format.
Cons: although unique, it is not interactive
-has no elements of collage
Image 13. This artist is innovative in the way they have folded the composition and combined their painting with text. The text seamlessly transitions with the rest of the composition because it takes the form on the tray, appearing like just another section of the meal. This then served as a good example of how I could implement text in a harmonious way.
Cons: the whole composition is 2D and has no 3D structure
Cons: limited potential for layering, surprise, and discovery
-it does not open or close, therefore it is not accordion in form and does not reveal or conceal
Image 2. Duchamp's suitcase provides a method of folding that could be used. His works, made into miniatures, create a continuous narrative of his body of work by being logically organized in the suitcase. By opening the suitcase, almost like a display poster board, the 'reveal' concept is fulfilled, while 'conceal' can be applied when it is closed. It also began to make me think about the exterior of my book.
Cons: the number of folding options is limited
Image 3. Korzer-Robinson creates a narrative by use of layering. The artist uses repetition of form and subject matter at various depths to create a unifying connection and a three-dimensional sense of depth.
Cons: there is no focal point
-potentially has too many layers and is too complex to fulfill 'less is more'
-does not have accordion format and does not open or close
Image 4. The same artist uses the reveal and conceal concepts by utilizing negative space that allows a hidden peak of the images farther in the background. The use of negative space also draws the viewer in, encouraging one of the objectives of discovery.
Cons: difficult to achieve a balance between positive and negative space
-does not have an accordion format and does not open or close
Image 5. This work made me consider the use of symmetry to create transitions on a page or when transitioning from page to page or front to back. The symmetry also allows for visual harmony via repetition of anatomical parts.
Cons: lack of contrast which could slow the visual speed and stop the visual movement
-does not have an accordion format and does not open or close
Image 6. Dettmer's composition surprises the viewer by its implied movement. The layering effect of encyclopedia books and the implied 'wheel shape' created by its endings, result in a form that appears to be moving.
Cons: is unable to open or close
-is lacking any interactive elements
Image 7. Artist Hedi Kyle uses different layers of paper to create transitions and allow for each page's subject or text to be integrated with one another. Her technique of paper folding could also be using for creating envelopes or pockets as part of an interactive composition.
Cons: it does not use or is a part of an accordion format
-no three-dimensional attributes, so it can only be used for paper and folding methods w/ in the book, not exterior construction
Image 8. The artist uses a powerful repetition of text to create a cover page that the viewer will remember. Like the beginning of a narrative, the way that the book looks at the beginning should draw the viewer in. This image helped me realize the importance of how I will choose to begin my narrative or how I will design a cover, if I have one.
Cons: no interactive elements, accordion format, concealment, or actions of opening or closing
Image 9. I chose this image because of the way many objects are organized into boxers, small compartments, and sleeves. By having different options for organization and interactive elements like pockets, I could have the potential for both unity and variety.
Cons: the visual movement is stopped due to the complexity caused by the amount of object (subject matter) there are
Image 10. The artist combines a sculptural cover- that is different from that of the material in the book-with a series of images that follow. By adding the modeled cover, the piece is unified because the outside of the composition literally pulls you inside, into the building where you begin. This reveals and conceals the events going on inside of the book and also combines 2D and 3D elements.
Cons: there are no interactive elements
-lacking elements of reveal and conceal, aside from the beginning of the bok
Image 11. This well-known Chinese artist created a pop-up rendition of one of his sculptural installments [Head On] that I chose because of the way the pop-up is attached to the surface and the form it creates overall [an arch of sorts]. This helped me to begin thinking about how I could create pop-ups and how I could actually craft them.
Cons: does not include any text
-the collage is minimal because all of the objects in the composition are the same-hence, it lacks variety
Image 12. This work applies to the challenge because it is dynamic and has a form that surprises the viewer. It uses an unexpected exterior and has a different form [circle] for the main pages, rather than the typical rectangular format.
Cons: although unique, it is not interactive
-has no elements of collage
Image 13. This artist is innovative in the way they have folded the composition and combined their painting with text. The text seamlessly transitions with the rest of the composition because it takes the form on the tray, appearing like just another section of the meal. This then served as a good example of how I could implement text in a harmonious way.
Cons: the whole composition is 2D and has no 3D structure
New Visual Research: Tuesday 4/5/13
Note: The cons for each image are relatively the same because I was focusing on TEXT and the ideal of 'less is more' with this group of research, rather than 3D attributes or accordion formats.
Image 1. I chose this image because I wanted to explore the use of text in advertisements. The artists uses scale and placement of text to convey a message. The artist also uses the words to form a object-a skyline, which I thought was an innovative use of the text.
Cons: no 3D qualities, use of accordion format, or the ability to open or close
Image 2. I chose this image because of the way the artist uses proximity of words to emphasize their meaning. This has an effect that surprises the viewer because from afar, the text is not recognizable, but up close, each individual word can be examined. This has the potential for both unity at a longer distance and variety at a closer distance.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
-potentially use of too much text
Image 3. This artist uses a combination of text and collage to surprise the viewer. The combination of the two draws attention to the importance of the message, which is enhanced also by color choice and placement of the gorilla head on top of a female nude. It makes the viewer consider more thoroughly what the artist is trying to say. There is also a strong use of horizontal visual movement.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
-potentially use of too much text
Image 4. I chose this because of the different ways the artist explored the creation of text with pencil and rubbing. He allows me to see the effects that non-traditional text can create, such as a mysterious or illusive effect created by the rubbing.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
Image 5. I chose this because it has a strong word and image association, which is critical in this challenge. By using only two words and a body part that symbolizes a sexual activity, the artist conveys a message.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
-also has limited potential for visual movement
Image 6. This artist uses collage to create a complex scene, where the viewer has to search for the focal point (the dove). It reminded me of a children's look-and-find book (or ISPY), which fulfills the interactive element of the challenge. I was also able to use this image to explore how individual parts (in this case body parts) that are collaged together to create a whole (the individuals).
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
Image 7. After realizing that a majority of my personal artwork is whimsical in nature, I was drawn to the narrative influence of children's poems. I immediately thought of Shel Silverstein, because of his skillful use of combining short poems with illustrations. His work is a perfect example of 'less is more' because he is able to compose poems with few words that are relateable on one level to a child, and on another level to adults.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
Image 1. I chose this image because I wanted to explore the use of text in advertisements. The artists uses scale and placement of text to convey a message. The artist also uses the words to form a object-a skyline, which I thought was an innovative use of the text.
Cons: no 3D qualities, use of accordion format, or the ability to open or close
Image 2. I chose this image because of the way the artist uses proximity of words to emphasize their meaning. This has an effect that surprises the viewer because from afar, the text is not recognizable, but up close, each individual word can be examined. This has the potential for both unity at a longer distance and variety at a closer distance.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
-potentially use of too much text
Image 3. This artist uses a combination of text and collage to surprise the viewer. The combination of the two draws attention to the importance of the message, which is enhanced also by color choice and placement of the gorilla head on top of a female nude. It makes the viewer consider more thoroughly what the artist is trying to say. There is also a strong use of horizontal visual movement.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
-potentially use of too much text
Image 4. I chose this because of the different ways the artist explored the creation of text with pencil and rubbing. He allows me to see the effects that non-traditional text can create, such as a mysterious or illusive effect created by the rubbing.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
Image 5. I chose this because it has a strong word and image association, which is critical in this challenge. By using only two words and a body part that symbolizes a sexual activity, the artist conveys a message.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
-also has limited potential for visual movement
Image 6. This artist uses collage to create a complex scene, where the viewer has to search for the focal point (the dove). It reminded me of a children's look-and-find book (or ISPY), which fulfills the interactive element of the challenge. I was also able to use this image to explore how individual parts (in this case body parts) that are collaged together to create a whole (the individuals).
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
Image 7. After realizing that a majority of my personal artwork is whimsical in nature, I was drawn to the narrative influence of children's poems. I immediately thought of Shel Silverstein, because of his skillful use of combining short poems with illustrations. His work is a perfect example of 'less is more' because he is able to compose poems with few words that are relateable on one level to a child, and on another level to adults.
Cons: again, no 3D qualities, use of accordion format, or the ability to open or close
New Visual Research: Thursday 4/7/13
Construction & Style
Construction & Style