Final Reflection

Reflecting over the semester as a whole, I have come to really appreciate process. With many years spent considering the finished product in regards to, not only my own artwork, but also the work of others, I realized how little I had appreciated the evolution of the process alone. With each of the three final projects, it served an omnipotent role as the class searched for their solution to the assigned “problem.” Appreciation of this began last year in Foundations as guidelines were given without the knowledge or the ability to plan of the end product/assignment. At first, it was difficult for me to let go of my craving to control and plan what I would eventually create. However, as the year progressed, I was able to look in retrospect and understand the beauty and raw creativity that can grow out of the experience. This served as preparation for what I experienced this semester as it demanded, not only documentation, but also immersion into each individual part of the process that, when joined, formed each of the three projects. Despite the step toward improvement, there were a few times when I found myself dissatisfied with where the process was leading me and found that I needed to go back to the beginning (or to previous iterations) and consider a different direction for a certain part or the entire project. Searching for a reason to this frustration, I found it was due to my opinion on what I considered to be a “more” or “less” important part of the process as it related to the final piece. As I look forward to the spring semester, I would like to improve my capability to be entirely captivated by each phase of the process and consider each as important as the other. I want to develop my ability to create within each step and not close myself off to considering elements or ideas that I think might not be applicable to the final artifact. Aside from this, I also appreciated the semester’s emphasis on the healthy relationship that analog creation and its digital translation should have as well as inclusion of three basic elements; dots, lines, and analog marks. I am positive each of these will be carried into the next semester, remaining time at KCAI and into my future career.

Each of the projects held an individual lesson learned such as the dot's more serendipitous attempt at communication of chosen words through simple to more complex compositions. (Shown Left).

With the new insight gained from this semester, I chose to provide an example of a line composition that was not included in the final book.


Starting the process with the creation of simple, digital line studies and then progressing into found studies, I found myself getting extremely excited about going into the environment and learning how to incorporate this into design work. Taking the line studies and combining and manipulating them added another element that I had previously left unconsidered. This being: creation doesn't always have to begin with extravagant inspiration (which can directly relate to immersion into each phase of the process rather than simply the end product). There have been and will be many times in the future when I will have to find that meaning from outside sources. After manipulation through available means (scanner, projector, copier, & camera), I searched and searched for juxtapositions and relationships between the created (line studies), manipulated (line studies) and found (photographs). On the left, I have included the process of one of my proposed juxtapositions. I chose not to include this in the final artifact because, although the process was definitely implemented and there were certain working elements, it was simply not able to improve the content of either of my line books.

This may be due to certain issues of position and/or the subject of the photograph in relation to my other locations (i.e. places of shelter). In accord with this third project, I considered many different sketches (from my set of chosen words that related to my haiku). Some of which successfully made interesting marks. ("Puddle" shown left along with "Puddle" marks). Nevertheless, they did not prove strong enough to be included in my final artifacts but were still an important part of the process in achieving the final marks that were included in both my haiku animation and taxonomy.

Project Evolution

Dewdrops, Let Me Cleanse
In Your Brief Sweet Waters
These Dark Hands of Life

Beginning the project, I was drawn to this particular haiku with its serenity accompanied by a touch of violence. As I continued to work with it, I was constantly reminded of a thunderstorm (the source/reason for my animation sound) with unassuming rain that can be transformed into a destructive storm. After composing a list of words, my best tools were primarily chosen from the word "cleanse" as well as the implications of the second line (i.e. Sponge, washcloth, steel wool, etc...) Due to this, I tried to emphasize this through the creation of my marks. Shown below are the linear progressions of each of my final three marks used in the haiku Flash animation. (Also Shown: Tool Documentation, Storyboard and the final edited animation).


Tool Documentation:

Storyboard:

Condensation (Line #1):

Tool: Sponge

First through final "condensation" sketches taken from the first line.

Initial condensation marks made with the sponge as well as the most successful mark to explore.

Final chosen "condensation" mark scanned and put into a digital format.

Final mark shown with the inclusion of it's related line in the haiku.

Refresh/Brief (Line #2):

Tool: Steel Wool (taken from the first line of the haiku)

First round of marks made from the steel wool and how they express the words "refresh" and "brief"

Thumbnail attempts at visually communicating the word "refresh."

Analog shapes as well as additional mark iterations intended to communicate "refresh."

Final mark (chosen after more than a few iteration rounds of this particular mark and tool).

Final Mark with added text. I chose to highlight the word that was trying to be communicated by increasing the size and emphasizing the meaning of the actual mark.

Hands (Line #3):

Tool: My own hands

A few examples of my first round of mark making with my hands.

Attempt at abstract forms of communicating the word/object "hands."

Analog Shapes as well as more iterations using a different ink that, in turn, developed more visually interesting marks than the ink I had previously been using.

Final Shape translated into digital form.

Final shape with text in the intended format it appears in my animation.

Final Animation:
(Please excuse the technical issues that accompany exporting and uploading that undesirably alter the animation). Sound = Rain Storm, Green Powered.

Untitled from Bethany Ediger on Vimeo.

Final Taxonomy

After three proposals and eight different types of paper, I am glad to have produced the finished "Taxonomy of Marks." The final artifact remains 6"x 6" but has been altered to a simple string binding with a double sided print that clearly presents the connotative and denotative marks. (The fold posed too large of a problem and was considered unnecessary and unclear). The book opens to the first page which immediately gives the clear, connotative word to prepare and guide the viewer's thoughts as they turn the page and view the 4 chosen marks on the right. A full-bleed photograph appears on the left page and represents, not only the denotative word, but also the tool used to make the mark. The pages included are placed in an almost narrative order as on flips through the pages; cracked-hands, pollute-cigarettes, soiled-washcloth, quick-sponge, infected-steel wool, and regenerate-grass (layouts shown on left). Throughout this process, I was confronted with the issue of materials as I discovered what types of paper printed well and those that do not. Specifically, I learned that soft, textured papers show the texture through the print when put through the printers at the school, regardless of specific settings. With the simple bind and formal visual description of my marks, the booklet is a clean solution for cataloging my haiku marks.

Video: Paul Rand

1) Paul Rand was a graphic designer from the United States know primarily for his corporate design work. (Wikipedia also tells me that he was born with the name Peretz Rosenbaum which I find very interesting for some reason).
2) The video primarily employs panning and zoom as well as wipe put to use within a few sections.
3) The clip begins as Paul Rand introduces the synthesis of content and form. "A work of art is realized when form and content are indistinguishable." He goes on to explain the language of form later in the video through the elements; order, variety, contrast, symmetry, tension, balance, scale, texture, space, shape, light, shape, color. Obviously, these words mean a lot to me as I have learned from my foundations year and continue to learn during this first semester in the design department. "No matter how perfectly you do something, it can still be improved." I found this quote particularly interesting and not necessarily encouraging. I have been told I tend to think this way specifically about my work which I agree with to a certain extent. The last quote I took meaning from was his statement that, "Everyone has a different definition of design and it can mean anything." He goes on to say that it is still all art! For someone whose known work was noticeably corporate, I find it refreshing that he still considered it art. This shows how versatile design can become and opens up a number of possibilities within the general view of the profession.

Mid-Progress

My animation will be posted soon. The video has taken over a day to be published on Vimeo and I am not sure why.

Happy Thanksgiving!

Taxonomy Proposal: Continued

After evaluating my organization of the connotative and denotative marks in class on Wednesday, I decided that I needed to edit the layout of each page as well as incorporate another element into my taxonomy. The solution consists of the same, left fold-out, 6'' X 6" accordion book. However, the added element will be the tool documentation photographs in place of a denotative word (or explanation) and the change to the placement of 4 marks per "Mark Page." I have included photographs of my mock-up example as well as a test print of my paper choice and title layout. The list of words has also been edited to fit the tools used. As follows (Denotative to Connotative); Hands, Cracked, Cigarette, Pollute, Sponge, Congested, Steel Wool, Quick, Washcloth, Refresh, Grass, Regenerate. I am also questioning the font choice (Goudy) at this point in the process. I know I used it for my last project in the class but I feel it works well with the theme of this book as well.

Final Shapes, Text & Storyboard

Shown: Final Storyboard (bottom) with intended text placement as well as finalized shapes and text (left). Also, digital thumbnails that weren't included in my iterations on Monday (middle).