syllabus — ART 227 / 395 / 427 — Digital Art

Mapping

description:

Many contemporary artists see the process of creating artwork as parallel to the concept of mapping. It is a method for transforming a complex entity (like an idea or a three-dimensional world) into a representation (often two-dimensional) that highlights specific attributes. The selection of attributes depicted can add insight regarding a certain purpose, reveal hidden relationships, re-contextualize the original entity, or simplify complex ideas. The form of translation and the attributes depicted in a map necessarily shape the interpretation of the content; in this way all maps encode a form of bias.

Use this broad interpretation of mapping as you select a topic, analyze the essential elements you wish to convey, determine your method for transforming/translating the information, and depict your content in two-dimensional visual form. Your concept is crucial to the impact of your work, so you should choose an appropriately complex current topic that will allow you to analyze a particular facet in depth and create a meaningful work.

requirements:

• Concept proposal paper: 2-page double-spaced / 1-page single-spaced
  (see specifications in the steps below).
• Your work should utilize Adobe Photoshop or Illustrator in some way, but you are not limited to that software.
• You may use scanned objects, photographs, illustration, and typography. If you choose to use words in your work, be careful not to use it as a crutch by spelling out key parts of your concept instead of incorporating the message into the visual components.
• ABSOLUTELY NO WEB IMAGES unless you clear each image with me.
• Your digital files must have a resolution of 300dpi or higher.
• Your digital files must be 150 square inches or larger (at 300dpi), or you may have multiple digital files that add up to 150 square inches or larger.
  NOTE: You may want to use standard frame sizes like 11x14-inch or 16x20-inch.
  NOTE: If you are considering working with additional technology that cannot produce images of this size/quality, please discuss with me before beginning the work.
• You must author all parts of each image.
• Complete and submit all steps of the project (below)
  
  NOTE: If you feel that your concept for this project will not be possible within these stated requirements, please talk to me so we can work out a different set of requirements.
  
  

step one: concept proposal paper
After selecting a topic and beginning your research into the topic, write a 2-page double-spaced / 1-page single-spaced paper outlining your concept. Your paper should explain the following as it applies to your concept:

• What is your topic and message in general?
• What is your specific angle or stance or subtopic or unique approach within the topic area? (This is a great place to leverage your own interests or point of view.)
• Why does this topic matter? Why are these concepts/topics critically important given the current social, political or cultural context (on a personal, local, national, or international level)?
• What tone will your work have? (celebratory, critical, empowering, informative, ironic, satirical, subversive, etc.)
• What about this topic or your approach to the topic that makes it a good fit for the forms/processes of either digital imaging or mapping (or both)?

Turn in your typed paper either as a Microsoft Word document on D2L or as a printed copy by the start of class time on the due date on the schedule. If you do not have the ability to submit a Microsoft Word document, I will also accept a PDF document.

NOTE: Per class request, you may use images and sketches to augment your proposal.

step two: make the work
Experiment enough to create at least 2 variations of your idea. These variations can end up being totally different pieces, or a diptych that functions as a single piece, or similar pieces where a few details are changed to see how it changes the message.

step three: save the originals

Save your work with all working layers. Photoshop files should be saved as layered TIFF files; Illustrator files should be saved as layered PDF files. All assignments in this class must be titled with your LAST NAME followed by any title you choose and the file extension. (ex: LARVA_anytitlehere.tiff)

step four: save / export jpg(s)

Photoshop: flatten your layers and “save as” JPG
Illustrator: go to “file” and “export as” to create a JPG file; check the box at the bottom to “Use Artboards” as the source area for your export; export at best/highest quality and 300 resolution.
Use the same file name, but the JPG format. (ex: LASTNAME_anytitlehere.jpg)

step five: submission

Load all 4+ files (2+ TIFF/PDF, 2+ JPG) in the appropriate D2L submission folder by the start of class on the due date.

NOTE: I will use these files to grade. As long as the print is finished on time for critique, your work may be posted on D2L any time within 24 hours after the start of the critique and will be considered on time. PLEASE DO NOT POST FILES DURING OUR CLASS CRITIQUE.

NOTE: Partial submissions that do not include the original working files (non-flattened, non-rasterized layers) will result in a significantly lower grade.

step six: print

Choose the stronger of your artwork variations and print it (at least 150 square inches at 300dpi). You may print all your work if you choose.

step seven: critique

Be prepared to present your physical work in class.

tips + resources:

• If the traditional ideas of cartography and geographic maps are blocking your creativity, it may be helpful to think of mapping as a metaphor for organizing and conveying information. You may also want to consider using synonyms for map/mapping as you think of how to approach your work. For example: chart, design, plan, depiction, diagram, portrayal, representation, topography, aligning, calibrating, outlining.

• Proposal ideation and writing resources:
  Proposal writing topic suggestions guide
  Guide to Developing Ideas
  Planning for effective design
  Check out DePaul’s Writing Center (UCWbL) (webpage)
• Journal article: Interpreting Map Art (PDF)
• This overview of cartography provides helpful context (webpage)
• Do Ho Suh: fabric maps and rubbings (videos)
• Komar & Melamid data map (website)
• Ben Fry, Zipdecode (web art)
• Baltimore Museum Exhibition Review: scroll down to Julie Mehretu (webpage)
• Stephan Sagmeister, research project The Happy Show (official site), at MOCA, in Chicago, and his description of the research (video).
• Jeff Koons/Snapchat collaboration and critique by Sebastian Errazuriz (both articles 2017)
• Article: Mapping and Contemporary Art (PDF)
• Art21: Maps Providing a Sense of Direction (article)
• MoMA: Maps, Borders, and Networks (website)
• Check out production services: DePaul’s IRL lab(s) or Edgewater Workbench or Latitude Digital Lab or Moo or Blurb or issuu or Fastsigns etc.