Course Description

This is an advanced level design course which investigates the relationships between images, text, narrative, and
various book publication forms and traditions. The history of the book from the tablet, scroll, codex, printed edition, to interactive web based forms and DVD/CD, will be integrated into an open studio investigation of book forms and images. Students will actively address the formal, historical, technical, and cultural aspects of these various book forms and reflect upon them through their studio work and class exercises/projects.
To facilitate our broad study of books we will make several trips to collections on campus and host visits from artists involved in a range of book making forms. These events will enhance our workshop based open studio exploration of book forms and an emphasis on artist books. By definition, artist books expand and challenge the conventions of form and content. Therefore, we will study the conventions and traditions to order to inform creative departures and innovations.

The two aspects of the book form, printed and physical ( part 1 ), and digital/nonlinear and interactive ( part 2 ) will be juxtaposed. The relationships between the digitally produced and hand made image, electronically presented and hand held, visual and physical, static and dynamic, traditional and experimental will be continually explored and
discussed within the course. A variety of software applications will be available. Quark X press 4.1 will be our multi-page print layout application and Freehand MX and Illustrator 10 will support single page/sheet and signature construction. we will also use these applications for the exploration of typography and fontography. Dreamweaver and Flash will facilitate our exploration of interactive and web based publications. Students will be encouraged to utilize Director MX for expanded digital publication and Premiere for an investigation of DVD chapter structure as new book forms.

To facilitate our broad study of books we will make several trips to collections on campus and host visits from artists involved in a range of book making forms. These trips and visits are to be fully integrated into the students experience and are required aspects of the course.

Dreamweaver MX Visual  Visual Quick Start

Quark X Press 4.1 Visual Quick Start

Flash MX Visual Quick Start

optional:  Illustrator 10, Freehand MX , Advanced Flash MX, Director MX, Premiere 6

• Jackson Library Reserves

• Jackson Library Special Collections

• Jackson Library Bindery

• Weatherspoon Art Gallery Collection

• Learning Resource Center, McNutt Building ( Film, Video, Children’s Books )

• http://digital.uncg.edu

•100% Effort and Participation

• Preliminary Projects

Throughout the course, preliminary exercises/problems will be assigned to familiarize  students with basic techniques and concepts. These assignments are due as assigned and are not credited when late. Preliminary projects are turned in with final projects in print.

• Participation

Participation is active. It involves doing, making, seeing, discussing, critiquing, collaborating, inquiring. It takes effort, energy, thought, and time. It is essential for everyone to participate
or the course to successful.

• Attendance

2 absences permitted, conference required after 2 absences and 1/2 a letter grade will be
deducted for each additional absence.

• Completion of all work on time, Disk and Print copy required

10% penalty for late final projects.
Late preliminary work will not be credited

•Final Critiques:

Students must present finished work to participate
Students without finished work can listen but will be considered absent.
Students must present their own work: no surrogates or absentee artists.
Written critiques will be required of each student for each project ( 2 )

This first section of the course will explore the history of the book and elements of typography. We will begin with a historical survey and focused study of the books and artist books in the Special Collections of Jackson Library and  Weatherspoon Art Museum. Our tour will include a visit to the bindery and a presentation on the structure of books and the craft of book binding, and an introduction to a letter press and the setting of type. Complementing this inquiry will be the studio based exploration of letters, typography, page design and structure. We will begin with single page/signature design ( Illustrator and Freehand ) and expand into multi page layout. ( Quark x
Press 4.1 ). Each student will produce two printed works, Common Threads and an Independent Book, and collaborate on one class multi page production.

Projects and Schedule

Letter study
Page layout study
Book presentation and Study
Common Threads
Documentation and Presentation
Multi Page layout ( class collaborative )
Book as Object/ Independent book

Common Threads

Select a book that we have discussed within our historical survey, class book presentations, or viewed in Special
Collections. Study the structure, tradition/history, and content of the book. Design your own book ( minimum of 12page elements ) as a response to the selected book or study.
Single Page/ folio/ Signature structure . Critique Feb 17

Class Collaborative/ Multi Page Production

The class will divide into production teams and collaboratively design a documentary book of printed class book projects, Common threads and Book as Object. Teams will be responsible for the complete design and production of one multi page book which can either be produced in the studio or through a service bureau.
March 5 common threads pages / March 31 Book as Object/Independent pages
April 16 Collaborative Books Critique

Book as Object

Artists have expanded book arts to include sculptural and experiential forms. This project should challenge the traditional limits and the standard definitions of a book. This project will focus on crafting a work that does more than sit on a shelf. A work that exists as a book in a dynamic relationship to time, space, and materials. A work that is read in new ways and expands our understanding of what a book is and can be. Critique March 19

e books /web based and virtual books
This section of the course will focus on the ways that web based and digital technology have revolutionized the book
form. Books are distributed over the web, on CDs, and DVD disks. The binding and linear structure of the printed
book are replaced by interactive and nonlinear structures. Again, we will survey contemporary artist books and the
traditions that have emerged within the e book and web based forms. Two independent projects and one
collaborative will be made and evaluated.

Projects and Events Schedule

pdf files: Feb 12
Feb 19 8 pm Zachary Booth Simpson presentation
Feb 20 2pm Zachary Booth Simpson workshop
Feb 21 12pm Lukasz Lysakowski workshop
7pm Lukasz and 242 pilots performance
Web book presentation: March 3
Non linear Narratives ( dreamweaver & flash ): Critique April 9
Interactive collaboration: Presentation April 21
Interactive Experience: May 5

Nonlinear Narratives/ The Web Publication

Many publications today include web companions. A printed article or text will direct you to a web page for more visual, multi-media and interactive information or include an interactive CD. The web eradicates any notion of binding.. Instead pages fold into each other and images link through complex web site maps. In this project we will first build a web companion for one of the earlier projects and explore the print to screen relationships and viewing.  Then as a final section project we will build autonomous web sites which publish content relating to / expanding a book form.
Applications: Dreamweaver & Flash MX Critique Date: April 9

Interactive Collaboration

The class will be divided into design teams and each will create a collaborative web based work and publish it on the class web site. Critique Date : April 21

Interactive Experience

Our notions about books are tied to the experience of reading. How and where do we read? What else can occur within the time and space of reading? How does a book frame our interaction? Can pages define our space...limit our time? In this final project we will experiment with different approaches to reading, audience, and the limits of the book form. Interactivity will be central to our exploration of advanced web and interactive design. This study will be have a parallel approach that is physically and temporally interactive through an investigation of the book as a performance space for the reader/viewer or as installation based. Applications: Dreamweaver & Flash MX & options Critique Date: May 5

         4 Section Grades: 25 %each

Each section grade will reflect: 80% final project , presentation, & critiques

20% preliminary projects and participation

Every project will be evaluated with a numerical grade based upon the scale: 90 - 100 = A, 80 - 89 = B, 70 - 79 = C, 65 - 69 = D, 64 & Below = F.

I will write a brief evaluative report on each project and return this to the student with the project grade in a timely manner. The report will elaborate upon ideas raised in the critique session and will address additional observations.

Two absences are permitted without grade penalty. If you are absent more than 2 times please schedule a conference with me ASAP ( see attendance policy above ).

Preliminary Projects

Throughout the semester, students will generate and informally present and discuss numerous preliminary projects. These preliminary projects are designed to introduce concepts and techniques relevant to the Section focus. Students are required to turn in preliminary assignments along with their final section project grouped together in a clearly labeled folder/envelope. Preliminary Projects can include written quizzes/examinations.

• Preliminary projects are due as assigned and will not be credited if late.

• Preliminary projects must be printed (when possible).

Final Projects

Final projects must be submitted on disk ( CD or zip 100 ) and in print form when possible.

Final projects should be matted/mounted and presented in a finished and professional manner.

Every project must include an Artist Statement which address two elements, one the technical description...The How..., and a Statement of Intent....The Why. .. My assumption is that if you can not retrace your steps in making an image you don’t really understand the image or the process. It is important to understand the impact of tools, media, and methods along with the sequencing or the production/creation process. The Technical statement should include a listing of media along with central elements/steps in the creation process. The Statement of Intent should address your ideas about the piece and can be personal or formal.

Each student is required to write two critiques of other student’s work presented for each project. These critiques should be thoughtful but concise as the length should not exceed one page. Two copies of each critique should be turned in, one for records and the other will be given to the artist who created the work discussed.

Students who do not have completed work to present in scheduled formal critiques will be considered absent for the day and will not be permitted to participate. They are welcome to listen. They will receive a 0 for presentation/participation when work is submitted, - 10%. Artists must present their own work; no surrogates or absentee artists.

When 254.1 is staffed the outside door will be open and all art students are welcome. When afternoon and evening classes are scheduled we will make every effort to keep the facility open.

Studio Rules

• Absolutely no food or drinks on work tables.

• Always be kind and considerate to others; especially Studio Assistants.

• Take care of all equipment. Your education depends upon it.

• Abusive or harassing behavior will not be tolerated.

Always remember that this studio is a public place. Anyone reported for abusing studio equipment or another individual can be reported to the Faculty Administrator, Art Department, University Police, and Instructional Research Computing. Immediate and future access to McIver 254 and other university computing facilities can be denied and other disciplinary actions taken.
 

Class Schedule and Related Events
Jan 22 visit Special Collections
25 - Feb 21 Digital Studio Exhibition in McIver Gallery
27 visit Special Collections and Type

Feb 5 visit Bindery
9 Seeing is Believing: The work of Nancy Burson * show opens
Feb 9 - April 20 weatherspoon museum
10 visit Weatherspoon Museum Collection
12 pdf files:
17 Common Threads Critique
19 - 21 Carolina Film and Video festival
19 8 pm Zachary Booth Simpson presentation
20 2pm Zachary Booth Simpson workshop
21 12pm Lukasz Lysakowski workshop
7pm Lukasz and 242 pilots performanceMarch
3 Web book presentations
5 Collaboration Pages Due (Common Threads )
* noontime talk on Nancy Burson exhibition
19 Independent Project Critique
31 Collaboration Pages Due ( Book as Object )April 3 & 4 Doug Bohr visiting artist
9 Nonlinear Narratives Critique
16 Collaborative Book Critique
21 Interactive Collaboration Critique
May 5 Interactive Experience Critique

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