Bookbind PDF

Hi Carolina,

If possible could you post the bookbinding PDF that you were talking about in class? Thanks.

TRANSMEDIA EXHIBITION: FINAL PRESENTATION FORMAT & DELIVERABLES

Dear all, we are merging both studios for our final.
The info below look dense but Its just very specific.
(please see post below for class setup diagram)

IT IS VERY IMPORTANT YOU GET TO CLASS (A9) AT 1PM, as we will need 1 hr to set up the exhibition:
Jamie, Christina: can you be there at 12:30pm? I'll be there, we could get started

what we need:
— tables with white butcher paper: Tables should be covered with white butcher paper for a very clean presentation. Butcher paper drapes to the ground on shorter lateral sides of table.
— 2 projectors
— 2 projection screens
— 2 laptops
— speakers
— poster clips etc

J & C: You know the format, please coordinate the setup & reserve equipment (I can help with this too, i'll place a call tomorrow)

Some of your from the monday studio have presentations that day, (_dominique_ree_ anybody else?)
To make this work: let's arrange when you'll have a break in your other course so you can drop by for 10-15 minutes to present your work, we'll accommodate for your time.
I can notify instructors as well, please let me know who they are,


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FINAL EXHIBITION PARAMETERS
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Below is a diagram of how I want the class to be set up for your final presentation
—The format is an open / public exhibition of the work you have created this term in Transmedia (both studios combined)
—i will invite colleagues and I invite you to spread the word to your peers as well. We will have promo posters at school.

Transmedia Exhibition
A9 / annex
Tuesday april 20th
2:15-7pm
open critique led by Carolina Trigo


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WORK
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BRING ALL YOUR WORK IN FINAL AND ACTUAL FORMAT. ALL MEDIA INCLUDED.

— Slideshow / visual narrative: VERY IMPORTANT. select your best 10 installation images (model photographs). Create a pdf that can be viewed as slideshow in preview (not acrobat pdf)
We will compile a folder with all of these images on one laptop and project as a loop during the exhibition.
—Models
—Catalog
—Media work: Video, Sound, Performance, documentation in actual format, these will be screened. If sound, they will be played.
—Poster/s: (do not mount!, we will pin these to the wall with clips or magnets)
—Invite
—Website
— Process book: This is not meant to be designed, just french-fold all your 11 x 17 printouts / sketches / work from the term and perfect-bind.
Add a simple structure to it, meaning, dividers that state: stage 1. stage 2 etc. You can name these however you see fit. Needs cover, spine, back cover.


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WEBSITE REQUIREMENTS
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—web needs to be functioning.
— images: show everything as a final, executed, physical object.

specifically:
—Logo (ideally placed to one side, elegant, visible on all pages)
—Artist Statement
—Installation: models, visual narrative of the whole installation (objective, subjective shots) This is what you did in your book, just translate that into an online platform via images for cohesive sequential storytelling.
—Catalog: shoot your final (PHYSICAL) book and include it as an image narrative. select the best spreads that tell the story in sequence.
—Poster: Shoot your poster
—Invite: shoot your printed invite.
—Process book: Shoot your final book. Same as catalog (this one is optional)

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SCREEN-BASED MEDIA (2 Projectors)
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—PROJECTOR 1: Slideshow loop
Select the best images of your installation / 10 images minimum. We will compile these into one folder and present as a slideshow loop throughout the evening (as mentioned above)

—PROJECTOR 2: Presentation-specific
You will screen all you media work: video, sound, performance, final installation pics and documentation as you present your work.
Include a black slate at the beginning of your projects stating: your name & project name (or logo, small)

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PRESENTATION LABELS
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Please place next to your work:
— All labels should be 8" x 8". Mounted on white foamcore. BW prints will do, unless you are inclined to use colour.
—8 x 8 label #1: Project Logo. Centered on the square.
—8 x 8 label #2: Your name(s)
—8 x 8 label #3: Artist statement.
(note: #2 & #3 can be combined. Just make sure they look beautiful typographically)

I think this is it, If I forgot something I'll post.

Good luck on this final stretch. you've accomplished so much & I am very much looking forward to your work

all my best,
carolina

A9 CLASS SETUP FOR EXHIBITION

CLICK ON IMAGE TO ENLARGE

Printing Resources

http://www.typecraft.com

located in Pasadena, high quality, can be higher end of pricing.
Sources out binding. Appx 5 day turn around time for print and bind.
Must use their paper, but they have a large selection and will be happy to accommodate special sheets and can bind in pages you print on your own (including velum, inserts, etc.)
It is best to bring a dummy printed and trimmed version of your book when you drop your files.
They do a great deal of work with Art Center students and are used to working with one-offs and artist books...

DUE WEEK 12: and subsequently till final presentation /// PHOTOSHOOT NEXT WEEK, BRING YOUR FINAL MODELS

dear all,

please see below for what's due next week and subsequently, till final presentation (recap of what was discussed in class).
Looks dense, but its just very specific and marks everything you need for completion.


BOOKS:
— FULL CATALOGUE
---- printed, trimmed to scale. remember: the aim of the catalogue is to showcase your work (the media installation piece and all its ramifications)
/ this implies:
-------- all actual text & image content. No more dummy text

TEXT: For text: refer back to all the content you gathered throughput the term and use that. (research, quotes, self-generated thoughts etc that are relevant to and inform your project)
IMAGERY: To make this easier for yourself do the following: gather all your imagery so far. Recall the midterm presentation, which's purpose was to present a sequential walk-through of the piece as a whole.
The installation pics are the main focus. Same as with text: all imagery should support your argument— that is, the work you did—and provide its context (particularly with process & research / referential imagery)

BOOK MATERIALS:
— Bring in materials (sheets, fabrics, plastics etc) for your cover, spine and back cover / and of course, for the main body of the book.
—covers & spine: test your materials and their 'printability'. You can do other processes as well: emboss, deboss (faking it so to speak with layering and laser cuts), foil stamps, silkscreening, vinyl etc.
Think of how you can apply graphics to these surfaces
— visit HIROMI's in Sta.Monica / they have a wide range of materials for you to browse through. Ask questions re: printable materials (fabrics, unusual stocks etc)
http://www.hiromipaper.com/hpi_about_us.htm

STRUCTURE, INKS & BINDING:
— Inquire about binding, make sure you have your vendors, prep set up time for files & time allocated for production.
—structure is directly in line with the flow, tone and sequence of how you portray your narrative. Rremember, this catalog is primarily about your work, so that should be the main feature.
—INKS: Bring stock samples (the actual sheet/s you will be using with test prints in actual colour: eg. monotone, full colour etc) Bring material samples for covers & spine (eg, fabrics, plastics and any other(
+++++++++++++++++++++++++++++++++++++++++++++++++++++

MODELS & MEDIA INSTALLATION: PHOTOSHOOT WEEK 12
— Bring in your final models, we will shoot these in class. I will bring lights but I do not have a camera, so if any of you have one please bring it in. (high res pls). Bring in a card reader and an external drive so you can leave class with your images in hand.

—PHOTOSHOOT: You will art direct your shoot, so, make sure you prep for this; meaning: test angles & lighting.
----- The images are a walk-through of the installation in ALL ITS CONDITIONS (daylight, nightime, interior, exterior etc)
----- I want you to document the piece objectively & subjectively. Objective shots: long shot, medium shot, close up (macro). The piece itself as an object. Subjective: also long,. medium & close up, but here you focus on the experience of being there and the behaviour of the piece itself. For example: Light shifts, shadows, displacements in form, different points of view to scale (as if you were inside the space, moving through it, living it. Don't forget your scale figures (little people). Simple analogy: if we were speaking of the ocean as the piece, the objective shots would observe the ocean as is (from far away, closer, details). The subjective shots would show us what its like to swim within it.

—MEDIA COMPONENTS OF INSTALLATION: Video, Sound, Performance, documentation in actual format. If sound, they will be played.

+++++++++++++++++++++++++++++++++++++++++++++++++++++

POSTER & INVITE:
— remember you can pair these up structurally (using folds as a revealer of content) or do then separately. Minimum poster size: 24" x 36"

POSTER:
— Bring comps in actual scale (can be tiled BW sheets) IIt is important we see it at full scale.

poster content: the posters should have:
—your logo (exhibition name)
_ location: make up a location (site-specific) or chose an existing venue (eg, moca, moma or something smaller)
_ exhibition dates: usually exhibits are open from 2-3 months
— url
— can include a brief text about the exhibit (your artist statement or a variation thereof)

same applies for the invite

+++++++++++++++++++++++++++++++++++++++++++++++++++++

WEBSITE REQUIREMENTS:
—web needs to be functioning.
—remember, indexhibit is a suggestion, if you have a website already or prefer cargo collective or dreamweaver that's fine,
use your criteria to execute what works best for you.

REQUIRED LINKS / CONTENT: 'PHYSICAL' IMAGES OF ALL YOU WORK (the idea here is that you show everything as a final, executed, physical object)
—Logo (ideally placed to one side, elegant, visible on all pages)
—Artist Statement
—Space: aka, images of your exhibition space or site-specific interventions (models / performance etc) Presented as a narrative sequence / visual storytelling. This is what you did in your book, just translate that into an online platform via images. They should be arranged in a way that presents your work in a cohesive and sequential manner.
—Catalog: shoot your final (PHYSICAL) book and include it as an image narrative. select the best spreads that tell the story in sequence.
—Poster: Shoot your poster. For this one you can also add a JPEG of your final layout
—Invite: shoot your printed invite. Can also include JPEG
—Process book: Shoot your final book. Same as catalog

+++++++++++++++++++++++++++++++++++++++++++++++++++++

PROCESS BOOK

doesn't need to be designed. just french fold your 11x 17 sheets and bring it in. You will need to create section dividers but that's it.

Week 12

Hi Carolina and Jaime,

I was just wondering what was due for week 12. I don't think your other post went through. Please let me know.

Thanks!

James

For Week 11

Continue working on your books- include all content, and all book sections.
Specifically plan the cover, back cover, and spine.

Bring sketches for the poster and invite. These are formal studies- digital sketches at actual size for the invite and to scale for the poster. Do not bring hand drawn sketches. For the poster, minimum size is 24" x 36".

If you did not already start, become familiar with indexhibit or cargo for the web page. Start thinking of your domain name, especially as this can take time to acquire.

Well done this week. Looking forward to seeing more strong progress from you all.

Today: March 23rd / class begins at 2:40pm

Dear all,

I have a severe back pain and need to begin class at 2:40 today
thank you
c

For Week 10

CATALOG:
—We are working with real content from here on out.
—You should have one dummy for next week with all of the typologies and all of the contents (look at the typologies document below, this includes front matter and back matter...)

BOOK STRUCTURE:
Consider opportunities within the format and structure of the book.

Also think about opportunities to integrate the book and other media (for example: the poster as a cover...)




PHOTOGRAPHY / DOCUMENTATION / IMAGE NARRATIVE:
Continue photographing your models yourselves. We may have a professional photographer come in to shoot your models, this however is not certain, SO if you can recommend someone from the photo dept for a colboration that would be the optimal way to go. When documenting your model consider the angles and points of view and how these support your narrative. Also consider what type of light you would like to use and how it should be lit.


MODEL & MEDIA:
Revisions to the project (the model and all of its other media: video, sound etc) should be completed by week 11 at the absolute latest.

WEBSITE:
Begin planning for this.

The idea of the website is not to program the entire thing, but rather to function as an archival and documentation process.

www.indexhibit.org is suitable for this purpose.

You will need a server/ host and a domain name. Check out Dreamhost.com, who will provide free service for the first year, and then at $9 annual after that.


The contents of the website should include:

-The artist statement
-Pictures of the installation
-Pictures of the catalog (these are photos of the actual book)
-The invitation (actual object)
-The poster (actual object)

----------------

Good work again, don't lose sight of your narrative and the content as you design your books.

Remember to use this blog as a valuable resource for feedback with the last couple of weeks for revisions on your models/ midterm media.

Please see below for what's due week 9 // Attached: Book Structure & Content Typologies for your reference

DUE WEEK 9

Good work this week. Keep pushing yourselves: there's a lot of work ahead.

FOR NEXT WEEK:

GRIDS: 2 variations on one format
-Include body copy, folios and chapter heads

LOGOS: refinements if you have a solid direction
-5 options if you are undecided on the name or form / POST HERE IF YOU HAVE QUESTIONS OR WOULD LIKE FEEDBACK, so you can move ahead more decisively for next week

ARTIST STATEMENT: revisions

TABLE OF CONTENTS: the structure of the book
-This functions as a blueprint for your book content, rather than the design.
-Related to book structure and content typologies



Thumbnail view of book.


BOOK DUMMIES:
-Most of you choose a format today. Use this to build book dummies, cut and folded, to scale.
-Bring 10 spreads, in sequence (with pagination). This should also include two chapters so that we can see the transition structure between them.

INDESIGN NOTES: Remember to fit your guides to "margin" rather than to "page"
It is recommended that you set up rows in addition to columns.

View everything from the perspective of the reader. Is the line length comfortable?



Remember, your project is directly related to format, but echo the piece through design without the book literally being the piece.

The catalogue content is comprised of the work you have already generated.


Think about the kind of binding you want to do: this will impact your grids and margins.
Think about paper types: coated vs. uncoated, dividing your sections by color and texture.
Think about printing methods and color.

The process book is separate and it is not designed. It is comprised of all of your existing printed tabloid research sheets french folded and bound together. There should be section dividers for the content.

our project

hello everyone, due to issues scaling of the video - and the HTML won't let me do it properly... please take a look at this video, it's a 3d cg model that took forever to make, but we were wondering if it was what you were expecting.
demo

Names

Hi everyone,
James and I have been trying to come up with a name for our project and have a few ideas. Any feedback we could get back on these would be tremendously helpful.
We were thinking about a name that could combine the idea of mathematics and a living thing. We really like the word ARITHMETIC because it deals with a branch of mathematics that is used on a daily basis, such as simple division, subtraction and multiplication and deals with quantity.

Here's the Encyclopedia Britannica's definition:
"Arithmetic (a term derived from the Greek word arithmos, “number”) refers generally to the elementary aspects of the theory of numbers, arts of mensuration (measurement), and numerical computation (that is, the processes of addition, subtraction, multiplication, division, raising to powers, and extraction of roots)."

We're not sure, however if this word is compelling enough to be the entire title so we were thinking we might combine it with a word that implied a living thing, like "Arithmetic Breathing" or "The Arithmetic Organism".

Another idea we had referred back to our earlier research. During the first few weeks we were researching ratios and one of the questions we asked ourselves was what is in between the ratio, or what makes up the (:) of the ratio number:number. From this we thought of the name "In Between Ratios". Though, we like the idea behind it, it feels a little dry as a name.
If anyone has a suggestion or a preferred direction we would appreciate any help.

On a different topic, we realize that we really need to improve our subject images since we failed to provide a real feeling for what it would be like when the exhibit actually functions and we're going to start over on this. Would fully rendered illustrations be an acceptable format for executing this, or would a combination of photoshop and video be better?

Thanks for the help,
Rachel and James

Bianca & Jess

Hi guys- I think this is a decent reference for graphic approaches representing similar tones/ structures to your project.

http://dvdp.tumblr.com/

It's not so much that you need to render motion pieces like this, but I think it shows how simple shapes and value and faked lighting can be successfully used to impart some of the emotional reactions we discussed in class.


A couple in particular stand out, but definitely browse through a few pages at least.
http://dvdp.tumblr.com/post/337508586
http://dvdp.tumblr.com/post/412261239
http://dvdp.tumblr.com/post/397520217


This might be useful inspiration for your physical model: http://c0573862.cdn.cloudfiles.rackspacecloud.com/1/0/128/60123/321008427_9d184a5884.jpg

DUE WEEK 8

We are moving forward with the second section of the class this week.

The deliverables are:

—Look at the syllabus (week 8) for what is due next week, BUT as discussed today in class here is what is due:

BOOK: GRIDS & FORMATS
—bring in two formats for your book (format is book size)
—execute 3 grid variations PER format. Grid variations include: number of columns, number of rows, margin sizes, gutter sizes.
—Fill all spreads with body copy (dummy text) / one point size and one typeface per study.

ARTIST STATEMENT:
—Work on revising your artist statement based on the midterm feedback. Bring this with you to class, printed.

LOGO:
—Bring 5 logo studies and 5 name studies.
If you are uncertain of your name or direction still at this point, these can be type-based studies.

Bring in 2 publications you like, we'll decode them.
----------------------------------------------------------------

Again, if you have any questions ASK
"i didn't know or I wasn't sure" is not an excuse.

-C + J

Midterm Presentation

I wanted to add one further detail: for the visual narrative I'd like to see a minimum of 15 images (plus objective pics / process and other)

Looking forward! have a great weekend
c

jaime: we'll need a projector and an extension cable / plus laptop, so let's plan on getting there 10 minutes prior to set things up.

Midterm Presentation & Specifications

Dear all,

Good session today, great to see your thought process take form in execution. As you head towards our midterm next week please keep in mind one thing: the work you generate speaks for yourselves (and for itself). Make it shine, feel it and commit yourselves to it. As Amelia Earhart said "The most difficult thing is the decision to act, the rest is merely tenacity. The fears are paper tigers. You can do anything you decide to do. You can act to change and control your life; and the procedure, the process is its own reward." "The best way to do it, is to do it". I sensed some of you were hesitant to the process and its inherent fluctuations, my advice: re-direct that hesitant energy to the process itself, towards the embodiment of your intent, rather than letting it control you. Your work reflects you.

Keep going and push yourselves as we head towards our midterm next week, excellence is where its at. You are all capable of it, some of you are at its threshold.

Below please find specifications for what's due, as discussed today:

PHYSICAL MODEL:
— bring in your models / remember: materials, context (where it is situated), scale (relationship of installation to scale figures, aka: little people), lighting conditions.

OBJECTIVE MODEL SHOTS:
— photograph your model in this manner:
- top view
- side views
- interior views (from afar / mid ground and details (macros)
- exterior views (from afar / mid ground and details (macros)

VISUAL & IMMERSIVE STORYTELLING: (SUBJECTIVE SHOTS i.e. INHABITED)
— Generate a series of sequential images that guide us through your whole installation, step by step, from multiple points of view (what happens when i get there, what happens when I am in it, how does it feel to be there, how does media contribute to the material sensation of being there)
— Think of it this way: you are presenting to someone who has no idea what your project is about, you need to guide them through it and make them feel like they are inhabiting and living that space in all its material, structural, psychological, emotional and narrative properties.
— Use photography and photoshop to storyboard this visual storytelling; cinematic in how it unveils a story from beginning, middle and end.
—I need to feel that I am moving through it, that I am in it, that I am seeing it respond to my presence and that IT in turn, responds to me.
— Best way to generate realistic points of view to scale is to do this: photograph you model as if you were the "little people" yourself.
— The camera sees what we cannot see, particularly in a model
— Explore every component: light / projections onto space itself / location(s) / transformation (responsiveness) etc
— Include every component, if you have video studies bring those in

PROJECT NAMES:
— bring ideas for your project name
— if you have this begin typographic studies for your "logo"

ARTIST STATEMENT:
— bring a draft of your artist statement. Here is where you describe the piece objectively: what is it, what it sets out to do, how it does it.

PROCESS PICS:
—Alongside your visual & immersive storytelling bring process pictures (studies that culminated in your final direction, photographs / documentation of your construction etc
— I value process tremendously (plus, it is very fun to watch)

We look forward to your beautiful work!
questions welcome

thank you
Carolina & Jaime

Bianca & Jess

Reminds me of the aesthetic of your project...

http://vimeo.com/7940519

Week4 Presentation

Jacob

Grace & Kris

Seunga & Jeesook

James & Rachel

Bianca & Jess

Doug & Maura

Pictures of class 2

pictures of class 1

The Drywall.... it's alive!!

It's a wall of sound!! Woot!!
Art Center should be made out of these walls @_@ !!

http://work.soundsbutter.com/?s=p&work=WallPiano

Sci-Arc Experimental Music Lecture Tonight

Matmos/Drew Daniel & M.C. Schmidt: Queer Assemblages

http://www.sciarc.edu/lectures.php?id=1619

Wednesday, January 27, 7pm
W.M. Keck Lecture Hall

"The San Francisco-based experimental music group Matmos begins SCI-Arc's Spring 2010 lecture series on January 27. Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by many others."

DNA Radio & Images

This is that annoying radio I was talking about,
and by annoying I mean "incredibly cool".....and annoying:

http://www.dna-rainbow.org/dna-radio.html

and...this is an interesting website for photography,
inspiration and non-inspiration and such:

http://1x.com/