Because the source images for the portraits and backs varied so much the toning doesn't all match. Ugh. I have two more class sessions to finish these and get them printed. Due Wednesday <bite fingernails />.
Wednesday, September 28, 2011
Assignment 2 - Work In Progress (updated)
My currency creation assignment is moving right along. I'm fairly happy with the concept though I hope I have time to introduce some variation between the bills (other than the portraits/rear images, I mean). Here are samples for both faces of all six:
Because the source images for the portraits and backs varied so much the toning doesn't all match. Ugh. I have two more class sessions to finish these and get them printed. Due Wednesday <bite fingernails />.
Because the source images for the portraits and backs varied so much the toning doesn't all match. Ugh. I have two more class sessions to finish these and get them printed. Due Wednesday <bite fingernails />.
Sunday, September 18, 2011
Assignment 2 - Braintstorming
So, our next assignment is to design a currency. We'll have to design both sides of 6 bills: 1, 5, 10, 20, 50, and 100. I've considered everything from Disney characters (Mickey on the $1, of course!) to some variation of Monopoly money. However, I decided to go with American photographers because money is exactly what every working artist is pretty sure he'll never have. The photographers I've settled on are:
UPDATE: I've included some examples for faces of the 1$ and 5$ bills below.
Original portrait of Ansel Adams
Bill-ified Ansel Adams with half-toning
Original portrait of Edward Weston
Bill-ified Edward Weston with half-toning
For the reverse of each of these I'll be using a photo taken in Grand Teton National Park from Adams and the famous pepper from Weston. I haven't started "bill-ifying" these yet, though.
- $1, Ansel Adams
- $5, Edward Weston
- $10, Sally Mann
- $20, Annie Leibovitz
- $50, Diane Arbus
- $100, Richard Avedon
UPDATE: I've included some examples for faces of the 1$ and 5$ bills below.
Original portrait of Ansel Adams
Original portrait of Edward Weston
For the reverse of each of these I'll be using a photo taken in Grand Teton National Park from Adams and the famous pepper from Weston. I haven't started "bill-ifying" these yet, though.
Tuesday, September 13, 2011
Composite Images for Critique
So, for the past few weeks we've been working on our "cutting stuff out" as well as other basic Photoshop skills. These were to culminate in 5 composite works with specific parameters that would then be critiqued. Below are those five images.
Of these five I am probably most proud of the last one. You might need to see the original to notice just what is different. I had to use all of the skills learned in this class so far (and maybe a few I had picked up through earlier encounters with Photoshop) to update Sam with a more contemporary gesture.
Of these five I am probably most proud of the last one. You might need to see the original to notice just what is different. I had to use all of the skills learned in this class so far (and maybe a few I had picked up through earlier encounters with Photoshop) to update Sam with a more contemporary gesture.
Monday, September 12, 2011
Arting Out (1 & 2/5)
There were several openings on Friday night (September 9th) so I thought I'd step out and see a couple.
(1) The Art Museum at the University of Memphis (AMUM) opened their Nick Cave Memphis Heavyweight exhibit. The exhibit included video, sculpture, and photos taken from and during the Heavyweight parade in April 2011. I actually participated in this parade helping to create the Rock'em Sock'em Robot/Anti-Bullying float and was happy to see one of the giant robots in all of its 12' glory on display. Sadly, the two robots in the float had to be reduced due to heavier-than-expected winds on the day of the parade. U of M staff were able to secure a lengthy, but very interesting, interview with Cave about the project which was shown in constant loop at the back of the exhibit. I highly recommend the show to anyone who participated in or saw the parade or just wants to see Memphis art students in action.
(2) Greely Myatt, a working Memphis artist and sculpture professor at the University of Memphis, had an opening at the Lusk Gallery. The speech bubbles which are so prominent in many of his other works appeared here as well. Myatt had several pieces on display at Lusk including a giant metal sculpture, painted mostly with primary colors, in the front lobby that could be stepped through. This and the large, fanned out, wrought-iron screens in the back of the gallery utilized light and shadow as much as they did metal and elbow grease. The large screens in particular had three different light sources casting a complicate shadow on the wall behind. Myatt even had some print work on display one of which depicted a conversation bubble storm cloud utilizing what appeared to be a very intricate--and hugely varied--group of screens or wood cuts to create an interesting cacophony of silent sound. Unfortunately I didn't get a chance to meet Myatt while at the gallery.
(1) The Art Museum at the University of Memphis (AMUM) opened their Nick Cave Memphis Heavyweight exhibit. The exhibit included video, sculpture, and photos taken from and during the Heavyweight parade in April 2011. I actually participated in this parade helping to create the Rock'em Sock'em Robot/Anti-Bullying float and was happy to see one of the giant robots in all of its 12' glory on display. Sadly, the two robots in the float had to be reduced due to heavier-than-expected winds on the day of the parade. U of M staff were able to secure a lengthy, but very interesting, interview with Cave about the project which was shown in constant loop at the back of the exhibit. I highly recommend the show to anyone who participated in or saw the parade or just wants to see Memphis art students in action.
(2) Greely Myatt, a working Memphis artist and sculpture professor at the University of Memphis, had an opening at the Lusk Gallery. The speech bubbles which are so prominent in many of his other works appeared here as well. Myatt had several pieces on display at Lusk including a giant metal sculpture, painted mostly with primary colors, in the front lobby that could be stepped through. This and the large, fanned out, wrought-iron screens in the back of the gallery utilized light and shadow as much as they did metal and elbow grease. The large screens in particular had three different light sources casting a complicate shadow on the wall behind. Myatt even had some print work on display one of which depicted a conversation bubble storm cloud utilizing what appeared to be a very intricate--and hugely varied--group of screens or wood cuts to create an interesting cacophony of silent sound. Unfortunately I didn't get a chance to meet Myatt while at the gallery.
Wednesday, September 7, 2011
Image Adjustments
Today we continued to familiarize ourselves with the basic tools of Photoshop. These after (left) and before (right -- yes I flipped them) images show some of the basic adjustments available as inline layers. The instructor provided the source images but I just so happen to have a nearly identical version of the Yosemite image I took on vacation several years ago.
In this image we used the clone, patch, and content-aware fill tools to remove boats from the scene. My removal was a little crude but still fairly believable at first--or maybe even second-glance. Again I managed to flip these and put the "after" image on the left.
After this we continued working on our composite images. More of those to come soon!
In this image we used the clone, patch, and content-aware fill tools to remove boats from the scene. My removal was a little crude but still fairly believable at first--or maybe even second-glance. Again I managed to flip these and put the "after" image on the left.
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