Indesign practise

CUVVSP11B - Apply techniques to produce digital images

A touch with Fame

"I found this one extremely hard getting the lighting a shadows right.  I am not completely happy with the end result, as you can tell i have placed both Taylor Lautner and I in this scene"














Me myself and I


"I found this one the hardest as there were so many pictures to cut out and get lighting right as i did not do them all in the one day. I don't like this image at all, perhaps because there are all images of myself."

Underwater

"Although this had a lot of cutting out of images i found this much easier than the me, myself and I composite as i could blur and put a filter over the images to make them fit in."

When it rains it pours

"This is probably my most favourite composite out of them all, It symbolising a bad day when its raining and missing the train"

Deadlines and Technical challenges

Deadlines


what is a deadline?
A deadline is a task that MUST be done on time, we usually think of deadlines as paying bills or submitting assignments or tasks for a job.


What's involved in making a deadline?
To meet a deadline it usually takes organising, for example if you had an assignment due you would have to research the information needed, gather people who can influence or help you. prepare the material needed and set time aside to get the job completed. If this was not organised you have the risk of not doing the task correctly and ending up with a poor result or an incomplete project.


What are the consequences of breaking a deadline?
The consequences of breaking a deadline means that your image to the person who set the deadline is going to an image of unreliability, laziness etc this may lead to less tasks being set to you, failing a subject, or getting fired from a job.


How do you prioritise deadlines?
set them in order of most important to least important.


how do deadlines alter perception of business and individuals?
not meetin deadlines gives a negative effect on a company because if something is not done on time the person you are doing the project for will not come to you again and will loose business themselves if its something like a function that involved posters flyers etc, they will then pass it on not to go to that company and eventually you may go out of business. On a individual level your boss will think less of you and not have a great deal of respect for you and if it is a re occurring thing you could loss your job and gain a bad reputation in the community.


How do general business deadlines differ with Graphic Design deadlines?
In Graphic Design a client gives you a "deadline" as they usually need that piece of work for something they need for their job such as flyer for a upcoming event, if these do not get printed on time then there clients will not be advised of the function which they may loose thousands of dollars for and they can sue you for lose of business.




Technical Challenges of Graphic Design


What are the technical challenges?
colours (depending on different monitors, RGB-CMYK etc), Harmony, Balance, Programs, Software (not knowing certain tools)


How do we solve them?
Research, training/courses, experience/practice


What resources are out there?
short courses, TAFE, Uni, you tube, internet, books, library, design magazines, photoshop magazines, dvds, peers, teachers.


What is your annual budget to pay for these resources?
$1 000 - 1 500 maybe more depending on circumstances


How could an ABN benefit your financial approach to these resources?
You can claim most of these things back on taxes if you have an ABN 


How do the major platforms affect technical approaches to projects?

• Mac is much more expenisve for equipment
• layout is easier to operate on a mac (in my opinion) 
• web design is better on a PC and most people in general use a PC

When researching this subject on the net is has a huge debate between the geeks but these are some of the things i found

• most virus are formed for windows users hence majoring of people are using a PC.
• mac has a more consistent reliability and service record than any of its Windows-centric rivals, as shown by surveys conducted by both PC World and PCMag.com. 
• PC offeres more variety like size blu ray players, HD etc

Graphic Design Jobs

We were asked to look up serveral design jobs and write a summary about the roles, requirements, location and salary of Graphic Design jobs in Australia.


When researching the role of most graphic design jobs most employees are wanting someone with flare, someone dedicated to producing exceptional work, someone who is energectic, well presented, have excellent writen and verbal communication skills.

The roles that some companies state are creating digital ads and print marketing campaigns, responsible for creative design and concepts, cutting edge and eye catching work, involved in customer relations after initial training, design and prepare final artwork for printing, communication with internal and external parties, assisting pre press.

Experience needed to gain employment with most agencies is to have 3 years experience in the design industry, proven previous projects with wide variety of styles, ability to manaage mutiple jobs and work flow to ensure projects are meet with the best possible results,cmmunication and presentation experience, extentsive knowlege of the Adobe Creative Suite and most companies preferr web design expereince but it is not essential.

The main location for most companies looking for emloyees are the cities expecially Sydney with Salary ranging from an hourly rate of $40.00- 50.00 to a yearly rate up to $100 000.00.

Assignment on Dada

We were asked to write a report for Debbie on Dada and then create and magazine spread.

Report on Dada

Introduction

Switzerland and America were the first two countries where this movement began during World War 1 in 1916 but at the time had no contact between each other. The main places with traces of the Dada movement are Zurich, New York, Berlin, Cologne, Hanover, Paris and Europe.

Dada united in the frustration and disappointment with the war and the disgust with the culture that allowed it, the Dadaists felt that only protest and rebellious behaviour could fully express their anger.

Dada originated from writers and artists mainly from German expressionism, Italian Futurism and French Cubism who did not want to rebel against any previous movement but against general ideas in the field of art and literature.

The movement involved visual arts, literature, art manifestoes, theatre and graphic design. Its founders considered Dada anti art not art. Most Dada pieces contained dull colours and nothing that was too bright. Although Dada did not last long the movement has given influence to other styles such as surrealism and pop art.

The most common Dada artists were Hugo Ball, Tristan Tzaea, Francis Picabia, Jean (Hans) Arp, Kurt Schwitters, Hausmann, Marcel Duchamp, Max Ernst, George Grosz, Theodor Baargeld, marcel Janco and Man Ray. Who all effected the movement in some way or another.

Art historians were unable to find characteristics of a particular style as there were two many contradictions and complexities of Dada and described Dada as a transitional stage in the arts.

Body

Zurich Dada (1915-1920)

Hugo Ball brought together all elements into a single Dadaist core. In 1915 he propositioned the owner of a beer house (Herr Ephraim) to open a basic cabaret, saying that it would increase his sales.

Ball wanted to call it “Voltaire” and this is how the name “Cabaret Voltaire” was given to the first Dada review in 1916.

Ball meet poet Tristan Tzara and the painter Marcel Janco two Rumanian refugees, and their colleague Jean (Hans) Arp in February 1916. They came to the agreement of a presentation of a programme of soirees to be held at the “Cabaret Voltaire”.

In February 1916 Dada became an organised movement. Prior to that it had been broadly diverse.

The origin of the term Dada is vague and controversial. According to Tristan Tzara and Hugo Ball the word had been found by chance when opening the pages of a dictionary.

The first Dada books were published between 1916 and a new venue was opened in the Corray Gallery in which it became the Dada gallery in 1917.

Tzara made contact with Francis Picabia who settled in Switzerland in autumn 1917 and a connection grew between the two. Tzara launched into the editing of the manifeste Dada 1918, which remains the most important document of the Dadaist movement in Zurich and captivated the attention of young French poets and a starting point of a new wave of Dadaism. By late 1919 Dada found itself with little supporters, this is when Tzara accepted Picabia’s invitation to Paris and try his luck there.

New York Dada (1915-1920)

In the beginning of the centaury American Dadaism was all the rage. The artists revolved around the photographer Alfred Stieglitz, who was the director and founder of numerous galleries and photographic reviews.

Many European emigrants had settled in the United States during the time of the declaration of war in 1914, and came into contact with many venues and artists in Harlem, Greenwich Village and Chinatown.

The atmosphere of New York communities was very different to those in Zurich during the same period. All the same their leaders were fired with same belief that nothing is worthwhile and the ideas of challenging tradition.

In March 1915 Paul Hvioand, Stieglitz and Marius de Zayas had published the first edition of “291”, which was the house number of Stieglitz gallery on Fifth Avenue.

In June 1915 Duchamp and Picabia formed the original foundation of a new Dadaist movement.

Picabia examined the severe technique of merchanomotphic painting than his previous work from 1912-1915 that was more picturesque and less severe. In March 1917 an exhibition of independent artists at the Grand Central Hotel channeled all these energies and made those remote individuals aware of their substantially single identity, prior to that various groups seemed to work with no precise aim.

At the end of the World War many artists had moved back to the provinces, and others left for Europe in order to join the expatriates of the “lost generation”(Dada, Gruppo Editoriale Fabbri S.p.A, Milan 4).

Like Man Ray, Duchamp felt his days as American promoter of the Dada movement had come to an end. After Dunchamp had gone, Dada left few visible remaining signs in the United States. Only a few artists such as Dove, Stella, Convert and Schamberg continued to work and provoke a certain interest. It was only after Second World War the impact Dada had left would be shown with what we are familiar with today.

The Berlin Dada (1918-1923)

In Berlin Richard Huelsenbeck who left Zurich in February 1917 combined his knowledge of Dadaist activities with those of a group animated by the poet Raoul Hausmann.

In 1918 an evening organised in the Sall der Nauen Sezession, during which Huelsenbeck held an extremely assertive conference on the origins and objectives of the Dada manifesto, directed against Futurism, Cubism and above all Impressionism (Dada, Gruppo Editoriale Fabbri S.p.A, Milan 5).

Due to the rapid deterioration of the social situation in Germany and also the arrival new Dadaist elements encouraged by the publicity of the Dada club, the Berlin Dadaist gradually introduced political action from the summer of 1918 onwards.

George Grosz was one of the best known Dadaist whose expressionist satires fiercely denounce the rampant militarism and capitalist of an already pre-Nazi Germany (image 1, 2).

1920 had its biggest movement such as the exhibition “Erste Internationale Dada Messe” and the publication of four essential works for the comprehension of the Berlin movement: Dada Siegt, Deutschland mub untergehen, En avant Dada and Dada Akmanach (Dada, Gruppo Editoriale Fabbri S.p.A, Milan 5).

The main discovery of Berlin Dadaism in the aesthetic field is undoubtedly photomontage, an invention claimed by both Grosz and Heartfield, who used it above all for political aims, and by Raoul Hausmann, who was more concerned with the “visual” potential of the technique (Dada, Gruppo Editoriale Fabbri S.p.A, Milan 5).

Cologne Dada

In 1918-1919 Max Ernst and Theodor Baargeld took part in radical movement and published a periodical with communist tendencies.

When Jean Arp arrived in Cologne to join his old friend Max Ernst he provided to be a decisive factor for the evolution of the Dadaist embryo in Cologne. Arp managed to convince his friends to avoid political excesses of the Berlin Dadaist and to steer their activities in another direction, less directly involved.

Arp continued to experiment with the techniques he had used in Zurich, configurations obtained through abstract forms randomly cut in cardboard and whose position on the canvas was purely random (image 3, 4), as for Baargeld, he specialised in collaged made of painted paper decorated in various ways with Indian ink (image 5).

In 1920 Dada reached its peak due to a scandalous event at the Winter Beer House, which aggravated police intervention and put an end to the public survival of Dada in the city. Arp hastily retreated to Zurich, Ernst emigrated to Paris and Baargeld died in 1927, hit by an avalanche (Dada, Gruppo Editoriale Fabbri S.p.A, Milan 5).

Hanover Dada - Kurt Schwitters

Kurt Schwitters who was once inspired by Expressionism, Fauvism and Cubism changed his direction in 1918 and abandoned traditional material and used organic material and used all sorts of rubbish, which he collected and transformed into remarkable harmonies. In 1919 he completed his first Merzbild (image 6).

This piece of work was similar to the work Dada movement but Schwitters guarded the piece copyright and never adopted the Dadaist terminology.

In 1920 he constructed a huge architectonic structure in which he dedicated six years work. He also wrote poetry, composed a sonata in 1923, edited a review entitled “merz” whose publication continued until 1923 without rejecting the influence of any movement.

Paris Dada (1919 – 1922)

With the help of prior existence of young poets gathered around Apollinaire Tristan Tzara and Francis Picabia were responsible for the movement of Dada to Paris. In late 1919 Marcel Dunchamp joined the Dada group.

The Dadaist group organised exhibitions between April and June at the book shop Au Sans Pareil belonging to Rene Hilsum, who was to become the official publisher of the movement. In 1920 was a Dada Festival, taking place on May 26^th in the large and plain Salle Gaveau.

It was not long until a power struggle difference between the three men ad they were divided into two groups, Tzara and Picabia unrelenting Dadaists and that of the “Parisians” Breton, Eluard and Aragon.

The spread of Dada in Europe

From 1916 onwards most European countries had reached the Dada spirit. There were many active Dada groups in Belgium and Holland.

Italy was very productive place for Dada at the time as the public had already been prepared from the scandals of 1909.

The first Italian Dadaist exhibition took place in Rome in 1920 at the Casad’Arte Bragaglia, often occurring by the poet Giulio Evola who introduced a “Dada collection”. The most representative orgainsation of Italian Dadaism was Bleu, which Evola founded in Mantua in July 1920, together with the other two poets, Gino Cantarelli and Aldo Fiozzi, and which revived contemporary Parisian events, thanks to the collaboration of the French Dadaists (Dada, Gruppo Editoriale Fabbri S.p.A, Milan 5).

Conclusion

Where and how dada began is still a mystery but from its beginning in Zurich 1916 to its end in Paris in 1922 it has had a huge influence on the history of art and we have seen a lot of things evolve from the movement such as pop art and surrealism.

Dada was full of contradictions and often changed directions and become confusing and seemed it wanted the world to misunderstand it.

Reference List

Elger, D. (2004). Dadaism. Taschen

Richter, H. (1977). Dada art and anti-art. Thames and Hudson

Fabbri, G. (1990). Dada. Park lane

Magazine spread

Epic Design

Using the same idea as previous post we were asked to make a magazine cover .... but this time it had to be our own ideas and titles .....
I hate the word Epic but here I am using it .... ohh well

Digital Art Magazine cover

In class we were given a picture of a castle in the sky to re create in our own way. We were then asked to make an exact copy of a Digital arts magazine cover but using our image this is my design.
This is the original picture given in class......

This is my first attempt ........

My final design (well so far) ........

this is the original mag cover

This is my end product ......

Enjoy!!!