dcps dma-imaging curricularresource

Digital Media Arts Curricular Resource

IMAGING STRAND This document is designed to serve as a curricular resource for high school teachers incorporating digital media arts into their curriculum. The resource is project-‐driven; each project is designed to build students’ capacity in areas both technical and conceptual. The organization of the resource is based on the following curricular themes:

IDENTITY—the complex relationship between properties of identification, self-‐identification and context pertaining to both animal and object TRANSFORMATION—the impact an individual or group have on object and environment; the impact object and environment have on an individual or group LANGUAGE—the specialized concepts and technical vocabulary specific to digitally mediated arts production INTERACTION—the myriad connections relating digital art-‐making, product and audience CREATION—the generative sources and processes leading to unique instances of self-‐expression PHYSICALITY— concepts and processes of art-‐making relating virtual and actual manipulation of material

Each of these themes provides a conceptual framework that guides the engagement in two units. As a whole, the resource may be used as a full year curriculum; conversely, each project is designed to act as a stand-‐alone unit. When choosing an individual project, be sure to consider: your students’ current level of experience, the availability of technology and your goals for student learning. Some projects will require prerequisite knowledge or skill to complete that would be addressed in another project. For each unit, the following information is provided:

STANDARDS: both the national and district standards are provided for reference UNIT DESCRIPTION: provided in student-‐facing language OBJECTIVES: divided into technical and conceptual objectives, highlighting the two paths of learning that are occurring in each unit: process/skill and facilitation of student voice ASSESSMENT: presented as rubric qualifiers for the described project VOCABULARY: language that will be addressed during the unit and should be well defined prior to the teaching of the unit RESOURCES: Artists and online sources that provide information and visual support associated with the objectives of the unit. Artists listed here may be used as visual context for the unit.

DIGITAL MEDIA ARTS CURRICULAR RESOURCE – Imaging Strand

THEME 1: IDENTITY—the complex relationship between properties of identification, self identification and context pertaining to both animal and object

Associated Standards

Units

Unit Objectives

Assessment

Vocabulary & Resources

Concepts Technical Skills

DCPS Visual Arts Standards (Strands) Strand 2: Production and Creative Expression Apply artistic processes and skills in a variety of media to communicate meaning and intent in original works of art. NMA Strand/Anchor Standard Artistic Process | Creating: Conceiving and developing new artistic ideas and work. Anchor Standard | Generate and Conceptualize Artistic Ideas and Work. NMA Proficiency Standard a. Envision and research to purposefully explore multiple ideas, develop artistic goals and utilize problem solving in media arts creation processes. b. Form, test and propose original artistic ideas and production methods, considering goals, audience, resources and the presentation context (e.g. proposals, treatments, prototypes, concept sketches). NMA Accomplished Standard generative methods (e.g. envisioning, improvisiation, experimentation, prototyping, concept development, research) to formulate multiple ideas, refine artistic goals and assess the originality ofapproaches in media arts creation processes. b. Apply a personal aesthetic in forming, testing and proposing original artistic ideas and productionstrategies, considering goals, constraints of budget, time audience, resources and the presentation context. NMA Advanced Standard a. Generate ideas by integrating aesthetic principles and systems processes with personal knowledge to effectively construct ideas, content and frameworks for creating original media artworks. b. Integrate a sophisticated personal aesthetic and knowledge of systems processes in forming, testing and proposing original artistic ideas and production frameworks, considering complex constraints of goals, time, resources and personal limitations.

UNIT 1: LIE TO ME “...the work that photographers do is no exception to the usually shady commerce between art and truth.” –Susan Sontag You will create two self-‐portraits. Each of these portraits should inform us about you in a different way. One should inform us in a way that you feel is truthful, and one should lie to us. To do this, you must exploit the inherent properties of photography. Each of your images must exploit at least one of the following properties: Time; Movement; Light We will be considering the entire image as a work of art. You must therefore pay attention to all of the details, including technique, composition and content. The background matters!

IDENTITY AND PROCESS See objects and space both for what they are and what they can become Develop process; plan for the product and alter process based on feedback To evaluate the impact of context on identity To explore the identification of self and object through various modes of expression To identify, differentiate and evaluate the existence and simultaneity of identities

DIGITAL PHOTOGRAPHY Know and understand how to create images by manipulating a camera lens’ aperture Know and understand how to create images by manipulating a camera’s shutter speed Know and understand how to create images by manipulating a camera

Lie to Me: Truth/Lie, Self-‐Portrait Digital

Photography Project Technical _ The work shows manipulation of

either: Light, Movement, or Time ______________ /10 _ Image demonstrates effective

photographic composition: framing, placement of subject, and manipulation of levels (color, hue/saturation, and contrast). ______________ /10

_ Thoughtful manipulation of basic camera settings: focus, depth-‐of-‐field, exposure in support of artistic intent. ______________ /10

_ The image format/quality and/or print is appropriate to the composition ______________ /10

_ The artist was able to make corrections (composition, focus, depth of field) based on prior knowledge and use of shot log ______________ /10

_ The images show creativity and ingenuity in use of props, location and pose

Conceptual _ Artist’s truth and lie

indistinguishable i.e. both are read as truths ______________ /10

_ The background coincides with/enhances the meaning of the image /10

Student Reflection ______________ /10 /10 /10 What do these images communicate about you to an audience? What did you come to learn about yourself through the process of creating these images? What have you learned technically while

PROJECT 1 VOCABULARY

Design problem Context Composition Background Foreground Camera Body Lens Aperture Shutter Depth-‐of-‐Field Exposure Layering Blending Dodge Burn

PROJECT 1 RESOURCES artists Susan Sontag Nikki S. Lee Cindy Sherman Gillian Wearing Orlan web resources http://www2.mcachicago.org/exhibition/gillian-‐wearing-‐mass-‐observation/


creating this work? Discuss the successes of the work. In what ways has this image achieved the goal of advertising/propaganda? What are your critiques of the work? Where does the work fail to meet your expectations? Explain the work.

UNIT 2: DEATH MASK The face is the most communicative of all body elements. It is our identity and we use it to distort our persona. Each of us wears masks everyday. We show different faces to different people. We may not literally shroud our face to alter our appearance, but we may wear makeup, change clothes, and alter our expressions or way of communicating. This project seeks to bring all of these subtle, sometimes invisible masks to light. Each of you will create a digital mask that expresses elements of your personality and beliefs as well as things that are important to you. During this assignment, we will explore the various facets of Photoshop as an image editing program as well as an artistic tool. As you prepare images for this assignment, think about the ways in which you would like to be seen or you are seen: Athlete, Student, Son/Daughter, Artist, in terms of a Religion, or Friend. Focus on Photoshop’s ability to layer and blend a variety of images. The final work should appear as one continuous image rather than a “collage” of images.

IDENTITY AND AUDIENCE Understand the complex nature of identity within objects, animals and particularly the self. Employ identity as a tool of effective visual and contextual communication. Identify and evaluate the role of identity in the creator/consumer relationship Understand and control the malleability and changing nature of self

IMAGE EDITING SOFTWARE Know and understand how to create a well-‐organized and efficient file system Know, understand and employ the tools palette: the move/select tool; the crop tool; eraser tool; lasso/magnetic lasso tool; Use the Layers Palette in order to create and manipulate layers in image manipulation software: locking layers; labeling layers; opacity Use the History Palette in order to help manage creative process Know, understand and employ image compression formats appropriate to audience and final presentation

Death Mask Project Technical _ Final composition successfully

blends a variety of images via use of layers, i.e. image is not read as a collage.


_ The artist was able to make corrections of composition and exposure time based on prior knowledge and use of shot log ______________ /10 /10

_ The images show creativity and ingenuity in use of layers and blending

Conceptual _ Final composition successfully

conveys aspects of artist’s identity Student Reflection What do these images communicate about you to an audience? What did you come to learn about yourself through the process of creating these images? What have you learned technically while creating this work? Discuss the successes of the work. In

PROJECT 2 VOCABULARY Code-‐Switching Social Performance Context Composition Background Foreground Camera Body Lens Aperture Shutter Depth-‐of-‐Field Exposure Layering Blending Dodge Burn PROJECT 2 RESOURCES artists Francis Bacon Chakia Booker Nick Cave web resources http://cti.itc.virginia.edu/~bcr/African_Mask.html -‐Burke Museum mask collection (northwest coast Native American masks)


what ways has this image achieved the goal of advertising/propaganda? What are your critiques of the work? Where does the work fail to meet your expectations? Explain the work.

Japanese Noh Theater http://www2.ntj.jac.go.jp/unesco/noh/en/index.html


THEME 2: TRANSFORMATION—the impact an individual or group have on object and environment; the impact object and environment have on an individual or group


Units Unit Objectives

Assessment



DCPS Visual Arts Standards (Strands) Strand 1 Artistic Perception Perceive and understand the components of visual language: the elements of art and the principles of design. NMA Strand/Anchor Standard Artistic Process | Creating: Conceiving and developing new artistic ideas and work. Anchor Standard | Organize and Develop Artistic Ideas and Work. NMA Proficiency Standard a. Effectively perform pre-‐production processes and specialized roles to develop content and production processes for media artworks to fulfill artistic goals (e.g. researching, writing, sketching, designing, organizing, choreographing). NMA Accomplished Standard a. Effectively assess and perform pre-‐production processes and specialized roles to develop quality content and production processes for media artworks (e.g. researching, writing, sketching, designing, organizing, choreographing). NMA Advanced Standard a. Independently assess and perform pre-‐production processes and specialized roles to strategically develop exemplary content and production processes for media artworks.

UNIT 1: PHOTOJOURNALISM

You will choose journalistic subject matter and create two photographic essays (3-‐6 images each) by approaching the same subject via different points-‐of-‐view and creative processes. After selecting your subject matter (a class, family member, pet, friend, etc.) you will photograph it first with the intent to share objective information about your subject matter. You will photograph it again with the intent of sharing your point-‐of view with your audience. You will not use image-‐editing software for any other purpose than adjusting hue/saturation, dodging/burning, cropping, and file compression. How will your intention affect the composition, creation and final shot selection and presentation?

TRANSFORMATION AND OBJECT/ENVIRONMENT

To recognize the transformative ability maker, process and product. To evaluate criticism, both internal and external, as influences on process. See objects and space both for what they are and what they can become. To understand and employ the role of photographer in the creation of images. To implement and assess the impact of documentary photography on contemporary socioeconomic and geopolitical situations.

DIGITAL PHOTOGRAPHY/IMAGE EDITING SOFTWARE

Manipulation of hue/saturation, dodging/burning, and cropping in order to present finished work. Manipulation of angles and focal length to alter audience perception of space. Impacts of color and contrast manipulations on the perception of an image. Manipulation of photo composition including: camera angles, depth-‐of-‐field, and framing.

Photojournalism Project Technical _ Image demonstrates effective

photographic composition: framing, camera angles, and manipulation of levels (color, hue/saturation, and contrast). ______________ /10



_ The artist was able to make corrections (composition, focus, depth of field) based on prior knowledge and use of shot log ______________ /10

Conceptual _ Comparison of each photo essay

reveals a transformation of space Student Reflection How do these images work to transform their subject matter? How do the individual images work together as an essay? What have you learned technically while creating this work? Discuss the successes of the work. In what ways has this image achieved the goal of advertising/propaganda? What are your critiques of the work? Where does the work fail to meet your expectations? Explain the work.

PROJECT 1 VOCABULARY Photojournalism Documentary Subject Subjective/Objective Socioeconomic Geopolitical Social Construct Camera Angle Focal Length

PROJECT 1 RESOURCES artists Sally Mann Edward Burtynsky Kitra Cahana Larry Clark Nan Goldin Timothy O’Sullivan Tomasz Gudzowaty web resources http://americanart.si.edu/collections/search/artist/?id=3600 http://outofedenwalk.nationalgeographic.com/ http://www.moma.org/collection/artist.php?artist_id=7532 http://www.art21.org/texts/laurie-‐simmons/interview-‐laurie-‐simmons-‐photography-‐perfection-‐and-‐reality


UNIT 2: LIE TO ME 2.0 Inspired by the examination of the work of Richard Avedon, you will edit a portrait in support of the following quote: “My photographs don’t go below the surface. They don’t go below anything. They’re readings of the surface.”

–Richard Avedon And in light of the following: idealize (verb) Regard or represent as perfect or better than in reality. Which ‘imperfections’ are necessary to define a person’s surface and which can be removed? When do we cease to be ourselves? You must create a one page print advertisement/propaganda sheet. We will focus on image and exclude text from your project. Your goal is not to distort or lose the individual, but to idealize your surface through this transformation and influence your audience based on your intended outcome (sell a product/idea).

TRANSFORMATION AND PROCESS

To recognize the transformative ability of maker, process and product. Develop processes: plan for the product and alter process based on feedback. Identify and evaluate the impact of process on product.

IMAGE EDITING AND GRAPHIC DESIGN

To understand and employ imaging techniques of contemporary design studios including: healing, cloning, patching, and warping; burning/dodging; cropping. Understand and manipulate images using adjustments such as: brightness, contrasts, levels, curves, hue/saturation.

Lie to Me 2.0 Technical _ The artist created a coherent and

effective graphic design composition using a variety of found and created image, text, and graphics sources.

_ Effective use of image layers; image-‐editing tools; and image adjustments in order to create graphic overlays

_ Experimentation with new tools including: Crop, Spot Healing, Burn/Dodge, Clone Stamp, Patch

Conceptual _ Work successfully communicates

an idealized notion of your subject _ Work successfully transforms the

surface to support idealization without losing the subject

_ Transformation of your subject through composition successfully communicates persuasive ideals

Student Reflection What was your process in the creation of this image? What have you learned technically while creating this work? What have you learned about the subject on which you chose to base the work? How did your art-‐making affect your perceptions? Discuss the successes of the work. In what ways has this image achieved the goal of advertising/propaganda? What are your critiques of the work? Where does the work fail to meet your expectations?

PROJECT 2 VOCABULARY Design Problem Graphic Design Idealization Propaganda Advertising

PROJECT 2 RESOURCES artists Richard Avedon Susan Sontag Dulce Pincon Orlan web resources http://www.moma.org/collection/artist.php?artist_id=248 http://www.schooltube.com/video/949f7248b7a24500a848/Dove%20Evolution%20Commercial


Explain the work.


THEME 3: LANGUAGE—the specialized concepts and technical vocabulary specific to digitally mediated arts production


Units

Unit Objectives

Assessment


Concepts

Technical Skills

DCPS Visual Arts Standards (Strands) Strand 2: Production and Creative Expression Apply artistic processes and skills in a variety of media to communicate meaning and intent in original works of art. Strand 4: Aesthetics, Valuing and Perspectives of Art Respond to, describe, analyze, and make judgments about works in the visual arts. NMA Strand/Anchor Standard Artistic Process | Creating: Conceiving and developing new artistic ideas and work. Anchor Standard | Generate and conceptualize artistic ideas and work. Anchor Standard | Organize and develop artistic ideas and work. NMA Proficiency Standard a. Envision and research to purposefully explore multiple ideas, develop artistic goals and utilize problem solving in media arts creation processes. b. Form, test and propose original artistic ideas and production methods, considering goals, audience, resources and the presentation context (e.g. proposals, treatments, prototypes, concept sketches). NMA Accomplished Standard a. Strategically utilize generative methods (e.g. envisioning, improvisation, experimentation, prototyping, concept development, research) to formulate multiple ideas, refine artistic goals and assess the originality of approaches in media arts creation processes. b. Apply a personal aesthetic in forming, testing and proposing original artistic ideas and production strategies, considering goals, constraints of budget, time audience, resources and the presentation context. NMA Advanced Standard

UNIT 1: NEO-‐POP JUXTAPOSANIMATION

You will create both a sequence of images captured from a Google image search based on a single word AND a short, looped (ten second) mixed media animation sourced from a range of created and found material. Your short animation will be based on the Google word search image sequence. For example, what would happen if you found a four-‐image sequence and expanded that into a ten-‐second animation including additional captured or found images? How will the variety of image sources impact your artistic process and product?

LANGUAGE AND MEANING MAKING

To identify, interpret and create visual cultural language. To understand and create linguistic and visual metaphor through the process of making. Use of authentic vocabulary for contemporary visual culture. Use of formal and technical vocabulary including conceptual/ theoretical. Recognition of diverse visual and verbal vocabularies.

VIDEO EDITING SOFTWARE

Import a variety of media into video editing software. Understand and manipulating timelines and their elements: sound and video tracks; sequencing images in a timeline; editing clip duration.

Animation Project Technical _ The artist created a coherent

animated sequence using video editing software.

_ Effective use of video editing basic tools including: importing images into projects; use of the timeline to create sequences and edit clips

Conceptual _ The work highlights your reflection

on the original image source materials

_ Final product demonstrates the thoughtful use of iterative creative processes, (i.e. the work shows growth through each successive process)

Student Reflection What was your process in the creation of this short animation? How did the work evolve from Google image search results to animation? What have you learned technically while creating this work? Discuss the successes of the work. What are your critiques of the video? Where does the work fail to meet your expectations? Explain the work.

PROJECT 1 VOCABULARY juxtasposition Still Clip Track Timeline Sequence PROJECT 1 RESOURCES Artists Andy Warhol William Kentridge Eric Idle web resources http://www.pbs.org/art21/artists/william-‐kentridge


a. Generate ideas by integrating aesthetic principles and systems processes with personal knowledge to effectively construct ideas, content and frameworks for creating original media artworks. b. Integrate a sophisticated personal aesthetic and knowledge of systems processes in forming, testing and proposing original artistic ideas and production frameworks, considering complex constraints of goals, time, resources and personal limitations. Anchor Standard | Organize and develop artistic ideas and work. NMA Proficiency Standard a. Effectively perform pre-‐production processes and specialized roles to develop content and production processes for media artworks to fulfill artistic goals (e.g. researching, writing, sketching, designing, organizing, choreographing). NMA Accomplished Standard a. Effectively assess and perform pre-‐production processes and specialized roles to develop quality content and production processes for media artworks (e.g. researching, writing, sketching, designing, organizing, choreographing). NMA Advanced Standard a. Independently assess and perform pre-‐production processes and specialized roles to strategically develop exemplary content and production processes for media artworks.

UNIT 2: NARRATIVE IMAGE-‐MAKING/TIME-‐BASED PHOTOGRAPHY

How does the image distort time? How can we use this distortion to visually communicate? In this unit, you will present a series of images that tell the story of time. This can be done using a variety of techniques, but the result must be the same: 5 images that communicate ‘change over time’. Each image should play an integral role in the communication (i.e. if it were removed, the narrative would not be complete), while also standing as an individual composition. While you are encouraged to experiment with options, some possibilities to consider are:

• Taking images of the same subject (with identical compositions) repeatedly over time.

• Telling a traditional story in images (e.g. a storybook).

• Using exposure to communicate change.

LANGUAGE, MEANING MAKING AND AUDIENCE

Confidence and efficacy in art making as a form of communication and exchange. Development of links between visual and verbal communication. To seek out and create works of art that use or encourage communication.

DIGITAL PHOTOGRAPHY

Understanding and employing the language of time inherent in photography.

Narrative Image Makin/Time-‐Based Photography Project

Technical _ Image sequences demonstrate

effective photographic composition: framing, placement of subject, and manipulation of levels (color, hue/saturation, and contrast). ______________ /10


_ The artist was able to make corrections (composition, focus, depth of field) based on prior knowledge and use of shot log

Conceptual _ The work shows creativity and

ingenuity in use of photography to communicate the passage of time, change and a narrative arc

Student Reflection What was your process in the creation of this image-‐based narrative? How were image creation and narrative affected by one another? What have you learned technically while creating this work? Discuss the successes of the work. In what ways has this video achieved the goal of an essay film? What are your critiques of the image-‐based narrative? Where does the work fail to meet your expectations? Explain the work.

PROJECT 2 VOCABULARY Time Narrative Time-‐Lapsed Photography

PROJECT 2 RESOURCES artists Eadweard Muybridge Alfred Stieglitz Hiroshi Sugimoto Uta Barth Ray Metzger web resources http://www.macfound.org/fellows/859/ http://www.pbs.org/art21/artists/hiroshi-‐sugimoto


THEME 4: INTERACTION—the myriad connections relating digital making, product and audience


Units

Unit Objectives Assessment



DCPS Visual Arts Standards (Strands) Strand 3: Historical and Cultural Context Investigate and understand history and cultural dimensions of the visual arts and to construct meaning in the diverse ways in which human experience is expressed across time and place. NMA Strand/Anchor Standard Artistic Process | Responding: Understanding and evaluating how the arts convey meaning. Anchor Standard | Interpret intent and meaning in artistic work. NMA Proficiency Standard a. Identify, describe and analyze a media artwork based on personal, societal, historical and cultural contexts. b. Determine and analyze the various reactions that media artworks evoke from various viewers. NMA Accomplished Standard a. Identify, describe and analyze how a media artwork is constructed in order to convene its meaning and influence based on personal, societal, historical and cultural contexts. b. Determine and analyze how and why media artworks are constructed to influence different audiences. NMA Advanced Standard a. Identify, describe and analyze how media artworks are constructed to persuade the viewer’s perception based on personal, societal, historical and cultural contexts. b. Determine and analyze how a media artwork is constructed to influence an audiences’ emotional appeal.

UNIT 1: DOCUMENTARY FILM: ALWAYS TELL THE TRUTH You will create a series of short, 2 minute, kino-‐pravda (cinema-‐truth) style documentary films that explore the ability of film to capture ‘truth’. You will make films in both of the following styles, adhering to their respective techniques for capturing truth in order to create two 3 min. films:

1. One Continuous Shot of a Subject without any Post-‐Production.

2. Shooting with ‘The Intent to Edit’, but following the VOW OF CHASTITY of Dogme 95 –Lars Von Trier & Thomas Vinterberg

How do your interventions and decisions about what to shoot affect the ‘truths’ communicated in your work? How does your intent (of communicating truth and either editing, or not editing your work) in filmmaking inform your judgment of your work?

INTERACTION: ART OBJECT AND TRUTH

To develop and understand the intent of a product. Communicate the process, discussion, and intents in their own work and analyzing the work of others. Equipping perspectives, sensibilities of other disciplines and understandings that enhance abilities to understand observation and relation to the arts.

VIDEOGRAPHY/FILMMAKING Understand and employ cinematographic techniques such as: framing, depth of field, hand-‐held shots, tracking shots. Understand and employ sound capturing and editing techniques including: field recording and sound editing. Import a variety of media into video editing software. Understand and manipulating timelines and their elements: sound and video tracks; sequencing images; editing clip duration.

Truth In Film Project Technical _ Film demonstrates effective

cinematographic composition: framing, tracking, placement of subject, and manipulation of levels (color, hue/saturation, and contrast). ______________ /10

_ Thoughtful manipulation of basic camera settings: focus, depth-‐of-‐field, exposure in support of artistic intent. ______________ /10 /10

_ Effective use of pre-‐production in planning, communicating and reflecting on shooting.

_ Effective use of basic video editing tools including: importing images into projects; use of the timeline to create sequences and edit clips ______________ /10

Conceptual _ Both films show creativity and

ingenuity in use of mise-‐en-‐scene, cinematography and post-‐production to explore truth in film.

Student Reflection Which of your two films more accurately reflect ‘truth’? Explain. What have you learned technically while creating this work? How well do you believe film is able to capture and communicate truth? Discuss the successes of the work. In what ways has this video achieved the goal of an essay film? What are your critiques of the video? Where does the work fail to meet your expectations?

PROJECT 1 VOCABULARY field recording direction diagesis ontology kino-‐pravda cinema-‐verite direct cinema Dogme 95/VOW OF CHASTITY Tracking Hand-‐held

PROJECT 1 RESOURCES artists Dziga Vertov Jean Rouch Lars Von Trier web resources http://mitpress.mit.edu/sites/default/files/titles/content/9780262630580_sch_0001.pdf


UNIT 2 VIDEO ESSAY: BELIEVE WHAT YOU SEE For this assignment you will compose a thematic video ‘essay’ by arranging the following elements: still and moving images; time; and sound, in order to create an immersive and meditative sensory experience for your audience. Your theme should be derived from your everyday experience/environment. This video/film essay is your attempt to express a personal meditation on a theme. You may separately capture and recombine via editing (your own) stills, video sequences, dialogue and music. How will each aspect of your work reflect your inner thought process? How will the whole help your audience identify with and understand your thematic meditation?

INTERACTION: ARTIST AND TRUTH Identify and evaluate the importance of their life’s surroundings to their creations. Formulating insight and identification of their own thoughts on a work of art. To identify the interrelated art of experimenting, perceiving, and feeling with materials and the fundamentals that will create an alternative process.

VIDEOGRAPHY/FILMMAKING Understand and employ cinematographic techniques such as: framing, depth of field, hand-‐held shots, tracking shots. Understand and employ sound capturing and editing techniques including: field recording and sound editing Understand and employ video-‐editing techniques including: using timelines to edit clips, sequences, and sound.

Video Essay Project Technical _ The work contains no more than 1

minute of video and no more than 15% found images

_ The work contains audio for the duration of the video

_ Audio is composed of three elements: Music; Narration; and Sound Effects/Ambient Sounds

_ The pace of the work/rhythm reflects the emotional intention

_ Image demonstrates effective cinematographic composition: framing, tracking, placement of subject, and manipulation of levels (color, hue/saturation, and contrast). ______________ /10



_ Effective use of basic video editing tools including: importing images into projects; use of the timeline to create sequences and edit clips

Conceptual _ The work focuses on a single

theme and effectively communicates a sense of meditation on that theme

_ The work exemplifies your study and reflective thought on your chosen theme

_ The work fulfills the definition of essay: The testing or trial of the value or nature of a thing

_ The work contains an inner logic,

PROJECT 2 VOCABULARY Essay Meditation Sensory experience Immersive Tracking Depth-‐of-‐Field Framing Field Recording PROJECT 2 RESOURCES artists Dziga Vertov -‐ A Man with a Movie Camera [1926, USSR, 68m]. Luis Buñuel -‐ Las Hurdes (Land without Bread) [Spain, 1932, 27m]. Joris Ivens -‐ The Spanish Earth [1937, USA, 52m]. Alain Resnais -‐ Night and Fog [1955, France, 30m]. Orson Welles -‐ F for Fake (Vérités et mensonges) [1975, France, Iran, Germany, 85m]. Chris Marker -‐ A Grin Without a Cat (Le Fond de l'air est rouge) [1977, France, 240m] Chris Marker -‐ Sans Soleil (Sunless) [1982, France, 100m]. Alexander Kluge -‐ The Power of Emotion (Die Macht der Gefühl) [1983, West Germany, 115m]. Ross McElwee -‐ Sherman's March [1986, USA, 157m]. Michael Moore -‐ Roger and Me [1989, USA, 91m]. Ralph Arlyck -‐ Current Events [1989, USA, 38m & 56m versions]. Trinh T. Minh-‐ha -‐ Surname Viet, Given Name Nam [1989,


(i.e. It speaks an audio/visual language that the audience comes to understand).

Student Reflection What was your process in the creation of this video? How does your film express intentions? What have you learned technically while creating this work? Discuss the successes of the work. How did the work communicate a meditation? What are your critiques of the video? Where does the work fail to meet your expectations? Explain the work.

USA, 108m]. Gurinder Chadha -‐ I'm British, But... [1989, UK, 30m]. Alan Berliner -‐ Intimate Stranger [1992, USA, 60m]. Macky Alston -‐ Family Name [1997, USA, 89m]. Kathe Sandler -‐ A Question of Color [1993, USA, 56m]. Tom Joslin & Peter Friedman -‐ Silverlake Life: The View From Here [1993, USA, 99m]. Rea Tajiri -‐ History and Memory: For Akiko and Takashige [1991, USA, 32m]. David Achkar -‐ Allah Tantou [1991, France/Guinea, 62m]. Barbara Trent -‐ The Panama Deception [1992, USA, 91m]. Deborah Hoffman -‐ Complaints of a Dutiful Daughter [1994, USA, 44m]. Jean-‐Luc Goddard -‐ JLG/JLG Self-‐Porttrait in December [1995, France, 62m]. Patricio Guzman -‐ Chile: Obstinate Memory [1997, Chile/Canada, 52m]. Sanjeev Chatterjee & Amitava Kumar -‐ Pure Chutney [1998, USA, 43m]. Barbara Sonneborn -‐ Regret to Inform [1998, USA, 72m]. Emiko Omori -‐ Rabbit in the Moon [1999, USA]. Luke Holland -‐ I Was a Slave Labourer [1999, UK, 75m]. Agnes Varda -‐ The Gleaners and I [2000, France, 82m]. Alan Berliner -‐ The Sweetest Sound [2001, USA, 60m]. web resources http://www.chicagomediaworks.com/2instructworks/3editing_doc/3editing_docinematicessay.html#theoretical SIGFRIED KRACAUER – the found story SERGEI EISENSTEIN


ALEXANDRE ASTRUC – camera-‐stylo (camera pen) By turning the camera into a pen, we will ...“break free from the tyranny of what is visual, from the image for its own sake, from the immediate and concrete demands of the narrative, to become a means of writing, just as flexible and subtle as written language ... more or less literal 'inscriptions' on images as essays http://www.trincoll.edu/classes/fysm106/ READING Astruc, Alexandre. “The Birth of a New Avant-‐Garde: La Camera-‐Stylo,” in The New Wave: Critical Landmarks, ed. Peter Graham (Garden City, NY: Doubleday, 1968). Bordwell, David & Kristin Thompson, Film Art: An Introduction. 6th Edition (New York: McGraw-‐Hill, 2001). [selections from Parts II and III] Citron, Michelle. “Fleeing from Documentary: Autobiographical Film/Video and the ‘Ethics of Responsibility,’” in Diane Waldman and Janet Walker (eds.), Feminism and Documentary. (Minneapolis: University of Minnesota Press, 1999), 271-‐286. Elsaesser, Thomas. “The Author in the Films,” in New German Cinema: A History, Thomas Elsaesser (ed.) (New Brunswick, N.J. : Rutgers University Press, 1989), 74-‐116.


Lane, Jim. The Autobiographical Documentary in America. (Madison: University ofWisconsin Press, 2002). Lopate, Phillip. "In Search of the Centaur: The Essay-‐Film," in Beyond Document: Essays on Nonfiction Film, ed. Charles Warren (Middletown, CT: Wesleyan University Press, 1996), 243-‐270. Monaco, James. How to Read Film. 3d. Edition (2000), chapter 3: “The Language of Film: Signs and Synthax.” Nichols, Bill. Introduction to Documentary. (Bloomington: Indiana University Press, 2001). [selected chapters] Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. (Bloomington: Indiana University Press, 1991). [selected chapters] Renov, Michael. "New Subjectivities: Documentary and Self-‐Representation in the Post-‐Verité Age," in Diane Waldman and Janet Walker (eds.), Feminism and Documentary. (Minneapolis: University of Minnesota Press, 1999), 84-‐94. Renov, Michael. “History and/as Autobiography: The Essayistic in Film & Video,” Frame/Work 2:3 (1989), 6-‐13. Rosenstone, Robert A. “The Historical Film: Looking at the Past in a Postliterate Age,” in Rosenstone, Visions of the Past: The Challenge of Film to Our Idea of History


(Cambridge, MA: Harvard University Press, 1995), 45-‐79. Ruby, Jay. "The Image Mirrored: Reflexivity and the Documentary Film," in Alan Rosenthal (ed.) New Challenges for Documentary. (Berkeley: University of California Press, 1988), 64-‐77. Zheutlin, Barbara. “The Politics of Documentary: A Symposium,” in Alan Rosenthal (ed.) New Challenges for Documentary. (Berkeley: University of California Press, 1988), 227-‐242.


THEME 5: CREATION—the generative sources and processes leading to unique instances of self-‐expression


Units

Unit Objectives Assessment



DCPS Visual Arts Standards (Strands) Strand 2: Production and Creative Expression Apply artistic processes and skills in a variety of media to communicate meaning and intent in original works of art. Strand 4: Aesthetics, Valuing and Perspectives of Art Respond to, describe, analyze, and make judgments about works in the visual arts NMA Strand/Anchor Standard Artistic Process | Producing: Realizing and presenting artistic ideas and work. Anchor Standard | Analyze, interpret and select artistic work for presentation. Anchor Standard | Develop and refine artistic techniques and work for presentation. NMA Proficiency Standard a. Effectively refine and modify elements and components to form intentional expressions in media artworks, for specific purposes, audiences and situations. b. Analyze, interpret, select and justify work for effective inclusion, sharing and presentation in media artworks (e.g. dvd, album, demo reel, portfolio, event, broadcast). NMA Accomplished Standard a. Persistently refine and elaborate elements and components to intentionally form meaningful expressions in media artworks for specific purposes, intentions, audiences and contexts. b. Analyze, interpret, select and justify work for strategic inclusion, sharing and presentation in media artworks. (e.g. dvd, album, demo reel, portfolio, event, broadcast). NMA Advanced Standard a. Intentionally and consistently refine and elaborate elements and components to form compelling, complex expressions in media artworks directed at specific purposes, audiences and contexts.

UNIT 1: A SENSE OF PLACE: DIGITAL GIS MAPPING AND THE ARTIST’S POINT VIEW

You will capture images of your chosen geographical region (neighborhood, city, park, state, etc.) from the internet and create graphic overlays, i.e. information graphics, in order to influence audience perception of place. How do text and manipulations of visual elements help to modify (re-‐contextualize, amplify, deemphasize, perturb, etc.) geographic meaning? How can you communicate your personal sense of place (its physical geography, people, events and connections) to an audience and influence others to see place as you do?

CREATION: CONNECTING THE PERSONAL TO WHAT IS CULTURAL

To recognize the formal and conceptual variety within different modes of creation. To scrutinize personal and cultural relationships between creation and consumption. Understanding of contemporary and historical models for creation in art/design/craft. Awareness and criticality around issues of cultural and material consumption. Recognition and appreciation of post-‐modern contexts/conditions for self and others.


To understand and employ imaging techniques of contemporary design studios including: healing, cloning, patching, and warping; burning/dodging; cropping Understand and manipulate images using adjustments such as: brightness, contrasts, levels, curves, hue/saturation Know, understand and employ the tools palette: the move/select tool; the crop tool; the pen/pencil tool; eraser tool; type tool; shape tool; lasso/magnetic lasso tool; stamp tool; fill tool; dropper tool; grab tool; magic wand tool Use the Layers Palette in order to create and manipulate layers in image manipulation software: locking layers; labeling layers; channels; paths; opacity Use the Colors Palette in order to manipulate foreground and background brush and fill colors Use the History Palette in order to help manage creative process Know, understand and employ image compression formats appropriate to audience and final presentation

GIS map Creation and Modification Project

Technical _ The artist created a coherent and

effective graphic design composition using a variety of found and created image, text, and graphics sources.

_ Effective use of image layers; image-‐editing tools; and image adjustments in order to create graphic overlays ______________ /10 /10

Conceptual _ Final composition successfully

amplifies, contextualizes, emphasizes, antagonizes, etc.) traditional/popular notions of your chosen place

_ The artist successfully incorporates a variety of information sources (GIS info, socio-‐cultural, historical, etc.) in the creation of a coherent and easily read composition

Student Reflection How did the work evolve from a familiar idea of place to incorporate and communicate rich and personally meaningful geographic information? What have you learned technically while creating this work? What have you learned about the place on which you chose to create the work? How did your art-‐making affect your perceptions? Discuss the successes of the work. In what ways has this composition

PROJECT 1 VOCABULARY GIS-‐geographic information systems Graphic overlay Info graphic Augmented Reality Inter-‐media PROJECT 1 RESOURCES artists the Center for Creative Community Development Julie Meheretu Mark Bradford web resources https://www.census.gov/geo/maps-‐data/maps/datamapper.html http://www.pbs.org/art21/artists/julie-‐mehretu http://www.pbs.org/art21/artists/mark-‐bradford


b. Analyze, interpret, select and justify work for discriminating inclusion, sharing and presentation in exemplary media artworks. Anchor Standard | Develop and refine artistic techniques and work for presentation. NMA Proficiency Standard a. Develop and refine a variety of artistic/design, technical and soft skills toward the production of effective media artworks. (e.g. invention, formal technique, equipment, software, production, collaboration, problem-‐solving, self-‐imitative) b. Demonstrate effective abilities in creativity and innovative adaptation in addressing identified challenges and constraints within and through media arts productions (e.g. divergent solutions, exploratory processes, resisting closure, design thinking responsive use of failure) NMA Accomplished Standard a. Exhibit effective command of and ability to self-‐develop artistic/design (e.g. inquiry, invention, expression), technical (e.g. formal technique, code, equipment, software, production) and soft skills (e.g. self-‐initiative, organizational, collaborative, project management, problem-‐solving, self-‐initiative) in producing media artworks. b. Demonstrate individuality and persistence in the elaboration and development of original expression and novel solutions to complex problems, constraints or lines of inquiry within and through media arts productions. NMA Advanced Standard a. Self develop and fluently employ mastered artistic and design, technical and soft skills in producing media artworks. b. Demonstrate self-‐initiative and original thought in formulating lines of inquiry and cogent solutions for complex challenges within and through media arts productions. Anchor Standard | Convey meaning through the presentation of artistic work. NMA Proficiency Standard a. Purposefully curate, design and/or implement presentation and distribution of media artworks through multiple formats and/or contexts (e.g. physical, virtual channels, formats, venues). b. Evaluate and compare results of and improvements for presenting media artworks considering personal and local impacts (e.g. benefits, changes, understandings). NMA Accomplished Standard

achieved the goal of an essay film? What are your critiques of the work? Where does the work fail to meet your expectations? Explain the work.

UNIT 2: CHEWING YOUR CUD: SITE-‐SPECIFIC PERFORMANCE FOR VIDEO

You will choose a space (a room, hallway, courtyard, etc.) and develop site specific choreography for dance/movement performance to take place in that space. You will then film and edit a two minute the performance. Through both the performance and the film you will explore the space in which the performance takes place and consider both source and process in the creation of works of art. How does your relationship to your subject change through iterations? How will the meaning of your performance piece change through the process of filming and editing?

CREATION: ITERATION AS EXPLORATION

To explore possibilities within individual, collective, material and conceptual creation. To present and explore multiple modes of artistic creation; traditional, modern, post-‐modern. Development of new objects, ideas, and relationships through artistic creation. To identify intentionality and context as fundamental factors in artistic creation.

VIDEOGRAPHY/FILMMAKING Determining and executing appropriate shot selection for action and meaning. Manipulate and employ editing as a means to modify meaning.

Recording of Site Specific Performance Technical _ Video demonstrates effective

cinematographic composition: framing, tracking, placement of subject, and manipulation of levels (color, hue/saturation, and contrast). ______________ /10



Conceptual _ Choreography clearly connects

visually to the final video product _ Final product reflects the process

of iterations of creation Student Reflection What was your process in the creation of this video? How did the work’s meaning and impact evolve through the process creating and re-‐creating? What have you learned technically while creating this work? Discuss the successes of the work. In what ways has this video achieved the goal of an essay film? What are your critiques of the video? Where does the work fail to meet your expectations? Explain the work.

PROJECT 2 VOCABULARY Site Specific Performance Art Hyperrealism Simulacra Mediate

PROJECT 2 RESOURCES artists Oliver Herring Nick Cave GOAT web resources http://www.pbs.org/art21/artists/oliver-‐herring http://www.go-‐at.co.uk/Goat.html


a. Intentionally curate, design, implement and promote appropriate presentation and distribution of media artworks through a variety of contexts (e.g. physical, virtual channels, formats, venues, spaces, mass audiences). b. Evaluate, compare and incorporate results of and improvements for presenting media artworks, considering personal,, local and social impacts (e.g. benefits, changes, understandings). NMA Advanced Standard a. Independently curate, design, implement and promote presentation and distribution of media artworks, for intentional impacts, through a variety of contexts (e.g. physical, virtual channels, formats, venues, spaces, mass audiences, participants).


DMA THEME 6: PHYSICALITY—concepts and processes of art-‐making relating virtual and actual manipulation of material


Units Unit Objectives

Assessment



DCPS Visual Arts Standards (Strands) Strand 2: Production and Creative Expression Apply artistic processes and skills in a variety of media to communicate meaning and intent in original works of art. Strand 5: Connections, Relationships, and Applications Connect and apply what is learned in the visual arts to other art forms, subject areas, visual culture and communication, and careers NMA Strand/Anchor Standard Artistic Process | Producing: Realizing and presenting artistic ideas and work. Anchor Standard | Develop and refine artistic techniques and work for presentation. Artistic Process | Connecting: Relating artistic ideas and work with personal meaning and external context. Anchor Standard | Synthesize and relate knowledge and personal experiences to make art. NMA Proficiency Standard a. Demonstrate and explain how media artworks and ideas relate to various contexts, purposes, and values, such as social trends, power, equality, and personal/cultural identity. b. Critically evaluate and effectively interact with legal, technological, systemic, and vocational contexts of media arts, considering ethics, media literacy, social media, virtual worlds, and digital identity. NMA Accomplished Standard a. Examine in depth and demonstrate the relationships of media arts ideas and works to various contexts, purposes, and values, such as markets, systems, propaganda, and truth. b. Critically investigate and ethically interact with legal, technological, systemic, and vocational contexts of media arts, considering ethics, media literacy, digital identity, and artist/audience interactivity. NMA Advanced Standard a. Demonstrate the relationships of media arts ideas and works to personal and global contexts, purposes, and values, through relevant and impactful

UNIT 1: STREET ART SCAVENGER HUNT & SOMETHIN’ LIKE A PHENOMENON

a. Street Art Scavenger Hunt Using any form of digital camera, capture at least 5 works of intentional street art. The goal of your image is to document the work and its context. This may take more than one image for each work of art. Download the images and place them into a PowerPoint. For each image, be sure to include where and when you shot it on the PowerPoint slide. b. I Heart Stencils Investigate the work of diverse street artists that make extensive use of stencils to communicate a range of ideas. Create an image that conforms to the technical demands of street art stencils:

a. Convert image to grayscale b. Adjust contrast c. Apply cut-‐out filter d. Print and retouch with Sharpie marker (ensure there

are no white islands, i.e. outlined shapes) e. Transfer to stencil material and cut

C. Somethin’ Like a Phenomenon Counter Culture Redux How do you engage a public that is desensitized to visual stimuli? We see approximately 5,000 ads per day and thousands of images beyond that. In a visual culture so completely saturated, it is challenging to get an audience to listen to you. How have cultures across history attempted to solve this problem? How is this problem being solved in your culture today? How can you solve this problem? You will use the work of Shepard Fairey as a starting point. The OBEY campaign and Shepard Fairey’s concept of Phenomenology posit that one way to pique audience interest is to leave questions unanswered. For this project, you will use the school and student body as

PHYSICALITY AND AUDIENCE Using your own technical and aesthetic visual language communicate the physical and socio-‐cultural context of a work of art. Analyze and communicate how a work of art relates to its audience in terms of context. Experiment with your own aesthetic visual language in order to investigate your ability to have socio-‐emotional impact on your audience.


Creation of photo static transfer of an image to a surface appropriate for a spray painting stencil. Analyze images to identify features important for conversion to stencil/transfer format. Modify image for conversion to a format conducive to transfer and stencil creation. Understand and manipulate images using adjustments such as: conversion to gray scale, and contrasts. Know, understand and employ the tools palette: the move/select tool; the crop tool; the pen/pencil tool; eraser tool; type tool; shape tool; lasso/magnetic lasso tool; stamp tool; fill tool; dropper tool; grab tool; magic wand tool. Use the Layers Palette in order to create and manipulate layers in image manipulation software: locking layers; labeling layers; channels; paths; opacity. Use the History Palette in order to help manage creative process. Know, understand and employ image compression formats appropriate to audience and final presentation.

Street Art Scavenger Hunt; I Heart Stencils & Phenomenology Project

Technical _ The artist created a coherent and

effective graphic design composition

_ layers; image-‐editing tools; and image adjustments in order to

Conceptual Student Reflection What was your process in the creation of this video? How did the work evolve from a simple idea of theme to a 10 minute audio/visual essay? What have you learned technically while creating this work? (i.e. What have you learned about the editing process and how it affects your art-‐making?) What have you learned about the theme on which you chose to create the work? How did your art-‐making affect your perceptions? Discuss the successes of the work. In what ways has this video achieved the goal of an essay film? What are your critiques of the video? Where does the work fail to meet your expectations? Explain the work.

PROJECT 1 VOCABULARY Phenomenology Street-‐Art Socio-‐Cultural Socio-‐Economic Counter Culture Outsider Low-‐Brow Art PROJECT 1 RESOURCES artists Rick Owens web resources http://www.trashionfashionshow.com/ http://www.rickowens.eu/en/


media artworks. b. Critically investigate and strategically interact with legal, technological, systemic, and vocational contexts of media arts. Artistic Process | Connecting: Relating artistic ideas and work with personal meaning and external context. Anchor Standard | Synthesize and relate knowledge and personal experiences to make art. NMA Proficiency Standard a. Access, evaluate, and integrate personal and external resources to inform the creation of original media artworks, such as experiences, interests, and cultural experiences. b. Explain and demonstrate the use of media artworks to expand meaning and knowledge, and create cultural experiences, such as learning and sharing through online environments. NMA Accomplished Standard a. Synthesize internal and external resources to enhance the creation of persuasive media artworks, such as cultural connections, introspection, research, and exemplary works. b. Explain and demonstrate the use of media artworks to synthesize new meaning and knowledge, and reflect and form cultural experiences, such as new connections between themes and ideas, local and global networks, and personal influence. NMA Advanced Standard a. Independently and proactively access relevant and qualitative resources to inform the creation of cogent media artworks. b. Demonstrate and expound on the use of media artworks to consummate new meaning, knowledge, and impactful cultural experiences.

your street. Your objective is to wage a campaign of phenomenon. You will design and generate a series of related images and display them in public areas of your school. The test of your success will be the response of students and faculty. If there is noticeable and genuine interest in uncovering the answers behind your unanswerable visual phenomena, you have succeeded. Consider creative possibilities. While posters can be effective, the school is flooded with them and most are poorly designed and executed. Consider (removable) ‘stickers’, works of stencil art, text, etc. Media, placement and timing will be key in planning your phenomenon.

UNIT 2: TRASHION FASHION DESIGN

Students will work in teams to design and produce fashion created from reclaimed waste/recyclable materials. Each team’s designs should be generated from concept to final design digitally and then created from designated materials. The final product is two-‐fold:

a. Create a digital concept presentation using graphic design software that highlights concepts and formal elements of your team’s design.

b. Produce the physical design and using digital photography create a photo spread highlighting the relationship between your digital design and physical object.

How can design elements like texture and form be best represented digitally? How can digital designs/models be made to support communication of complex ideas for collaboration and to a broader ‘consumer’ audience? How can you control the fidelity to which your physical product meets the expectations ordained by your digital design?

PHYSICALITY AND DIGITAL REPRESENTATION

Design collaborations are reliant upon clear communication of context, concept, audience, and purpose. The relationships between digital and physical versions of artistic ideas rely upon: the possibilities and limitations of computers to represent materials; and the artist’s intent in relating form and function.

DIGITAL PHOTOGRAPHY, IMAGE EDITING AND GRAPHIC DESIGN

Know, understand and employ the tools palette: the move/select tool; the crop tool; eraser tool; lasso/magnetic lasso tool. Use the Layers Palette in order to create and manipulate layers in image manipulation software: locking layers; labeling layers; opacity. Manipulation of photo composition including: camera angles, depth-‐of-‐field, and framing. Manipulation of graphic design elements in the creation of clear and compelling graphic design communications for the purpose of fashion design.

Trashion Fashion Design Project PROJECT 2 VOCABULARY Fashion Design Problem Materiality Graphic Design Collaboration Design Team PROJECT 2 RESOURCES artists Shepherd Fairey Rammellzee Ray ‘CRO’ Noland Banksy JR Stinkfish web resources http://www.obeygiant.com/about http://www.graffiti.org/faq/rammellzee.html http://www.streetartcurator.com http://www.streetsy.com http://www.woostercollective.com


http://www.m-‐city-‐org http://www.blublu.org http://www.bansky.co.uk http://www.ekosystem.org http://www.jr-‐art.net/ http://www.stink.tk/

UNIT 2: TRASHION FASHION DESIGN

Students will work in teams to design and produce fashion created from reclaimed waste/recyclable materials. Each team’s designs should be generated from concept to final design digitally and then created from designated materials. The final product is two-‐fold:

c. Create a digital concept presentation using graphic design software that highlights concepts and formal elements of your team’s design.

d. Produce the physical design and using digital photography create a photo spread highlighting the relationship between your digital design and physical object.

How can design elements like texture and form be best represented digitally? How can digital designs/models be made to support communication of complex ideas for collaboration and to a broader ‘consumer’ audience? How can you control the fidelity to which your physical product meets the expectations ordained by your digital design?

PHYSICALITY AND DIGITAL REPRESENTATION

Design collaborations are reliant upon clear communication of context, concept, audience, and purpose. The relationships between digital and physical versions of artistic ideas rely upon: the possibilities and limitations of computers to represent materials; and the artist’s intent in relating form and function.

DIGITAL PHOTOGRAPHY, IMAGE EDITING AND GRAPHIC DESIGN

Know, understand and employ the tools palette: the move/select tool; the crop tool; eraser tool; lasso/magnetic lasso tool. Use the Layers Palette in order to create and manipulate layers in image manipulation software: locking layers; labeling layers; opacity. Manipulation of photo composition including: camera angles, depth-‐of-‐field, and framing. Manipulation of graphic design elements in the creation of clear and compelling graphic design communications for the purpose of fashion design.

Trashion Fashion Design Project Technical _ The artist created a coherent and

effective graphic design composition.

Effective use of image layers; image-‐editing tools; and image adjustments in order to create graphic overlays Conceptual Student Reflection What was your process in the creation of this video? How did the work evolve from a simple idea of theme to a 10 minute audio/visual essay? What have you learned technically while creating this work? (i.e. What have you learned about the editing process and how it affects your art-‐making?) What have you learned about the theme on which you chose to create the work? How did your art-‐making affect your perceptions? Discuss the successes of the work. In what ways has this video achieved the goal of an essay film? What are your critiques of the video? Where does the work fail to meet your expectations? Explain the work.

PROJECT 2 VOCABULARY Fashion Design Problem Materiality Graphic Design Collaboration Design Team

dcps dma-imaging curricularresource

Documents