daniela peralta

dandy del sur - tijuana

2007-11-08T09:01:00.000-08:00

la estrella - tijuana

2007-11-08T08:56:00.000-08:00

Internet Art - Rachel Greene

2007-10-22T19:58:00.000-07:00

1. Who is Nam June Paik?
R, Artist b. in 1932, which took the television, traditionally a broadcast platform. and shaped it in to a interactive canvas. Paik's apparatus for reception and production prefigured browser art, which treats browsers as fodder foe exerimentation.

2. What was "Radical Software" and when was it published?
R, Published from 1970-1974, it featured more interdisciplinary and technicalapproaches to democratizing media.

3. Who is Lawrence Alloway and what did he write?
R. British critic, who seemed to anticipate the media when he wrote "The art world described as a system" about the various social. professional and critical networks, in which artists and theirvwork circulate.

4. On p14 she mentions ars electronica. Go to http://www.aec.at/en/index.asp and spend at least 5 minutes there.

5. Who was Charles Babbage?
R. He was an early visionary of the computer and electronic data. He was a 19th century mathematics professor at Cambridge University whose work on production and labour would be taken up by John Stuart Mill and Karl Marx, ans who designed prototypes for apparatuses that performed tasks by following instructions, now commonly known as programs.

web page

2007-10-08T18:45:00.000-07:00

http://design.sdsu.edu/webclasses/fall2007/344/prentice/vazquez/daniela_portfolio.html

Site-Seeing Chapter 6

2007-09-24T18:29:00.000-07:00

Site-Seeing Chapter 6

DQ: List the most common page elements (214)
R. Page footer
Body text
Links
Navigation systems
Images
Site ID’s
Forms

DQ: What is the purpose of the footer? 216, 242
R. The reasons the footer came to being (need o provide site wide supportive information on pages) influence how it appears on most Web pages. Because the footer fulfills the same role from site to site, it looks the same from site to site.

DQ: 221 – 223 Important info on how outlining and over design distracts
How have you emphasized navigation and clickable elements for your user?
R. Navigation bar remains in the same position from page to page. The link that leads to a specific page remains in the bar lid up in a different color to ensure visitors know about within the page. Rollovers are active on all clickable elements as well.

DQ: 227 - 230 Readability and body text.
What font do you use for your body text, and what size is it?
R. It is Helvetica at 11 points.

Site-Seeing Chapter 5

2007-09-24T18:28:00.000-07:00

Chapter 5 Wroblewski

In chapter 5 Wroblewski talks about 'look and feel' and getting and developing a 'personality' for the site.

1. Describe your portfolio site's look, feel, and personality.
R. The look is very simple and clean, not over crowded. It is meant to look user friendly, and it is also designed to work that way. Everything is well organized and structured. The page is supposed to feel sophisticated and modern, that may speak to both young and older crowds. My intention is to demonstrate my skills through the page design itself.

2. Describe your site's color usage and the reasoning behind the choices. Consider warms, cools, and complementary colors.
R. The use of color is minimal, limiting to the use of gray, black, and hot pink. The use of no color (white) plays an important role giving high contrast between values and adding to clean and sophisticated look I was shooting for.

3. List the fonts you use, and your reasoning behind the choices.
R. I use Helvetica neue and Helvetica throughout my Web page, even for body text. Even though a serif font is more commonly used for body text, I find that Helvetica, a sans serif, is comfortable to read. The body text isn’t heavily extensive, and the font structure has a balance that doesn’t make it hard on the eyes. Having a sans serif for me was important to add more to the modern look I was looking for.

Site-Seeing Chapters 2,3, and 4

2007-09-24T18:26:00.000-07:00

Read chapters 2, 3 and 4

DQ: What is a web mark? (59)
R. They serve as “landmarks” on a web page. They work as visual cues to jog your memory and let you know you’re on the right track when you try to find content you have located before.

Know p 52:53
Know p 62:63

DQ: Why does Windows display content differently than Macintosh? (69)
R. The gamma differences between operating systems that make Window machines seem substantially darker than the display on a Macintosh.

DQ: What are the two complaints of web site users? 84:85
R. The top two complains of Web site uses are “I can’t find what I’m looking for” and “it takes too long”.

DQ: Describe external links, internal links, embedded links, and action links and download links. 105
R. External links: they provide paths from your web site to specific sites you have determined to be informative or relevant to your audience’s goals. I think of them as references of our knowledge for a better understanding of our audience.
Internal links: they are links within your own navigation system. They are probably the most common links. The most prevalent of the type are site wide navigation systems and embedded links.
Embedded links: they are usually located within blocks of text or images. They direct your audience to relevant or supplementary information elsewhere within your site. They are much closer in function and appearance to external links than to navigation menus.
Action links: they trigger events other than browsing (ex. reset or summit buttons). These buttons sometimes don’t take your audience anywhere, but complete a transaction or activate dynamic content.
Download links: Links hat lead to any file that might not display within a Web browser window are referred to as download links. They are used to provide information in formats more appropriate for particular content and support the need to go beyond what is possible with standard Web pages and images (ex. PDFs, AVIs, etc).

DQ: In understanding how we perceive information, describe briefly what Proximity, Similarity, Continuance and Closure are/how they are used in design.
R. Proximity: tells us that element placed closely together, when compared to elements far away, will be perceived as a new element: a group.
Similarity: can reinforce this perception. Similarities of shape, color, size, direction, and texture work to group distinct elements.
Continuance: this attribute, on the other hand, tells us that several different elements are likely to be grouped together if their differences are the result of a basic pattern (ex. a series of identical circles progressively decreasing in size).
Closure: says that we also have a tendency to group elements by filling in the space between them to create larger, simpler forms. In other words, we tend to fill in the gaps.

DQ: What is visual hierarchy?
R. Creates a center of interest that attracts the viewer’s attention. Crates a sense of order and balance. Establishes a pattern of movement to guide a viewer through a composition.

DQ: What is visual weight?
R. So how do we build effective page hierarchies? We use visual relationships to add more or less visual weight to our elements. Visual weight can be loosely defined as the degree to which an element demands our attention and keeps our interest (ex. red large type will have more weight than small grey type).

DQ: What is color-coding?
R. Color-coding each subsection of your site is common way to communicate position (using similarity). Color-coding is most effective when the sections of your site have distinct differences. These distinctions could be based on user tasks, specific audience members, or content. The various colors of the sections provide an indication that your audience has made a distinct change in goals.

Know p 159

"Site-Seeing"

2007-09-12T18:16:00.000-07:00

a) Who is Luke Wroblewski and how is he qualified to write about the web?
Currently heads the interface and new media design efforts at the National Center for Supercomputing Applications (NCSA), birthplace of the first readily available geographical Web browser, NCAS Mosaic. At NCAS, he has designed interface solutions for Hewlett-Packard, IBM, and Kellogg’s. He is also the founder and creative director of LukeW Interface Designs.

b) Does LW adhere to a strict sense of "rules" and what are some of the rules or design standards mentioned?
He does follow rules but the audience determines them. He calls such rules “design considerations”. Some of the considerations are: acknowledging your audience, what the audience is looking for, finding your personality, etc.

c) How do you plan on categorizing the info for your portfolio (graphic design, photography, artist statement, resume...)?
1. Home
2. Bio
3. Statement
4. Design
5. Photography
6. Blog
7. Contact Info

d) Who is your audience and how do you define them (peers, potential employers, potential customers?)
All of the above.

e) What IS web 2.0?
The concept of "Web 2.0" began with a conference between Tim O'Reilly and MediaLive International. It is sort of like a second generation of the World Wide Web (WWW).

Web Design Projects

2007-09-06T08:24:00.000-07:00

blog

Each one of you needs to have a blog where you can enter your responses to the questions on the readings and homework.

You may have a blog already at blogger, or at myspace or facebook. YOu will need to give us that link.

If you DON't have a blog, then do the following to create a blog at blogger.com:

got to https://www.blogger.com/start
create a new account by following the instructions
Once you have your account set up, select a template for your blog, and practice creating entries.
ANswer the questions I have given you from the reaDINGS
LINK THE BLOG TO YOUR TOC INDEX (SEE BELOW)

Table of Contents project

Instructions:

Create a page, index.html, that is saved in your ROOT FOLDER (a folder named with your last name, all lower case) that will be associated with your name in the course list.
This page will have a list of projects and exercises that we can click on to view your work.
Select the text here and paste it into your index page.
"Put" and click on your name in the course list to see the results. Link the different items in the list, and experiment on changing the look and placement of the text
See an interpretation here
STUDENT EXAMPLE: Stecklair
How to link up content to this TOC index

Create and save a new html doc called statement.html.
Paste your statement into it (if you don't have one ready go to http://www.lipsum.com/ , generate some dummy text and use that.
Select the text "statement" on the index page and in the properties window click on the folder that allows you to browse for the file you want to link to: statement.html.
Test the link by previewing in the browser. This is the basic way to link. Note how you have to hit the back button to go back to index. We will be talking about navigation.
Add a contact link
Create dummy links for the others until you have created the content
NOTE: You will probably want to create folders in your root folder for 'portfolio' 'flash' and 'final_project'

readings

READINGS WILL BE ASSIGNED THROUGHOUT THE COURSE. SOME HOMEWORK QUESTIONS WILL BE POSTED IN YOUR BLOG. OTHER READINGS WILL BE ADDRESSED IN GROUP PROJECTS.

http://jeffprentice.net/web1 trial of forum style homework reading postings

Portfolio

Create a site that can be used for self promotion and/or personal exploration of the web environment following the design guidelines/required elements. We will be covering a number of topics, from background images and rounded table corners to cascading style sheets and drop down jump menus. It is up to you to experiment with the various elements, and develop your ideas on form and content, navigation, contemporary design standards and iconography. Please note that for this project we want to maintain an high level of professionalism. No snapshots of friends and family, cute or jokey welcome messages, profanity.

Site checklist/required elements:

Page templates
Library elements (optional)
A CSS style sheet
Site ID
Location indicator
Primary navigation - and perhaps second and third levels navigation
Clickable thumbnails and pages that open using open browser window, window fever, or some other method you can discuss - lightbox?
Footer
Artist statement (new) this replaces the bio used previously
Contact infO

We will be looking for design and navigation consistency, display of craft and understanding of the program - tables AND LAYOUTS that don't shift, pages that fit in our browser window without scrolling sideways AND down, text legibility - and spelling. These first sites don't have to be technological wonders, but they should be thoughtfully designed and carefully built. Be ready to discuss your design decisions.

Ideas for content:

YOUR ORIGINAL Professional/Commercial designS
Photographs
Illustrations
Multimedia
Stories
Bio
Other

Note: All web images have to be jpg or gif, 72 dpi, and around 600 x 800. You will also need thumbnail images. Look into actions and automation in Photoshop that create these in a single stroke. Look at the student gallery homepages for ideas. Collect resource and inspiration links. I have a large number on my site on the links and resources pages.

Basic flash

Create a single movie demonstrating

motion (acceleration, de-acceleration, proximity, contrast between fast and slow)
transparency (evocative use of overlapping...)
scale (huge versus tiny)
text as a graphical element (illegible? morphed? combined? reversed?)
You should have one movie clip that loops at a stop command, and a replay button
please consider icon based navigation and not just "back" or "replay".
think of speed relationships, pauses, zips and zooms. emphasize relationships: equal, looming, dwarfed. reveal, hide, combine.
think of natural equivalents: swarms. flocks. parasites and giants.
EXAMPLE Please keep in mind that this is basic flash. You will be covering more advanced flash in another course.
The best use for this information is to create looping ads and banners for the commerce site.

Commerce I 2020

Create a commerce web site that sells a product that you imagine will be used in the year 2020. Be inventive. Stay away from products that already exist, or if you do use them, see that they are topical and presented in a future context. Analyze existing commerce pages online. Please donate links for us to visit in class.

The future has been described by people as diverse as O Wilson in The Future of Life, Neil Stephenson in Snowcrash. There will likely be a lot more people, and a greater discrepancy between individuals and countries. Consider current species extinction rates and rainforest destruction combined with other ecological warning signs. There are a number of scenarios you will want to consider, both positive and negative.

Products may address issues such as pollution, vacations ( see total recall) armor, guns, food (hydroponic gardening) fashion, radiation detectors...Come up with ideas and we will discuss them in class.

Required elements:

Header/main primary nav
Secondary nav
Global nav (contact, site id, privacy policy, copyright...)
Footer
Site id (see global nav)
Shopping cart (non functional)
Shipping or download info
Pages or popups for items
Flash elements such as banners.
Site map
Contact page
Search atomz
Third party Ads

How to start - ideas:
Create a table with a row on top for main header content - add 2 or 3 columns below for content, body, secondary nav. Experiment with tabs similar to apple and amazon. Collect images and text. For placeholder text use dummy text (lorem ipsum).

Analyze previous student work
Note on about or about us links: students tend to erroneously place product info under these links, when in fact the about link should be info about the company or the people at the company - go to hillmancurtis.com and read what he has under his about link.

Commerce II

Theme: globalization, community, current events, anti-consumerism

Create a site that sells a product or an idea. It can be for profit, or a non-profit. If you have an idea for something different - run it by me for approval.

adbusters
The World is Flat Tom Friedman
Snowcrash Neil Stephenson

Required elements:

Header/main primary nav
Secondary nav
Global nav (contact, site id, privacy policy, copyright...)
Footer
Site id (see global nav)
Shopping cart (non functional)(optional)
Shipping or download info
Pages or popups for items
Flash elements such as banners, ads, Third party Ads
Site map
Contact page

Search atomz How to start - ideas:Create a table with a row on top for main header content and primary nav- add 2 or 3 columns below for content, body, secondary nav. Experiment with tabs similar to apple and amazon. Collect images and text. For placeholder text use dummy text (lorem ipsum).Analyze previous student work, keeping in mind it was for a different type of site - but you can get an idea of the scale and scope of the site. Note on "about" or "about us" links: students tend to erroneously place product info under these links, when in fact the about link should be info about the company or the people at the company - go to hillmancurtis.com and read what he has under his about link. Example. Define and describe the site.DescriptionDescription. I went to Tecate recently and we stopped at an herb store that sold potions, saints, candles, and other paranormal spiritual paraphenalia. One of my companions bought some love potion and a love candle custom made for her by the proprietor, carved with her name, with specific instructions fo lighting and maintenance. My idea is to create an online enterprise that sells similar potions and concoctions, but the target audience will be international instead of local. This way I address three of the assignment requirements: Globalization: Through the internet my audience can be global - the flattening of the world as described by Friedman allows for unprecedented marketing opportunities.Community and current events: Many futurists write of markets for personal explorations of identity through things like personal trainers, dietiicians, and in this case, an expansion of personal understanding of multicultural beliefs. I also address the needs of Mexican expats, immigrants, both legal and illegal.

Examples of my images can be found here and the start of a website using them here Mission statement (to be placed on the home page, or in the primary or global navigation)Aristeo's Herbs, Icons, and Potions. Mission statement goes here. Google "how to write a mission statement". Here is the first link. Commercial sites to view: Target Ikea Readymademag Red Cross Peace Corp

Zine

Create an ezine or graphic novel with at least 10 pages. Evaluation will consider layout, originality, navigation and overall effort and scale.

Example 1 my own ezine "Atlas/Junglelogic" and a flashed version more like the book project - But it provides an idea of how a zine could be presented Example 2 Pages from "Refuge" using the program Comic Life for layout

Book

How does the virtual environment differ from traditional non-digital experiences? How is an online book or other sequential form different than its physical counterpart?

Google the word "book". Go to the dictionary and thesaurus and read the definitions, looking for key words. Do the same for “hypertext”.

You need to put together a minimum of five html pages designed around this theme. Each page has to include some element of flash animation, either a slide show of images or a subtle detail, perhaps near the bottom or top of the page.

You should use stylesheets, templates and library elements. All pages MUST be titled for a passing grade.

Please, no scrapbooks or photo albums of family, friends, travel. If you went to China and want to create a digital experience using photographs from your trip, then include commentary and personal interpretation - take it a level above “my trip to China and where we went drinking” and make it more “What I learned and saw in China.”

One of the project objectives is to have you develop a greater sense of typographic style on the web. Try designing headers, footers, page elements in photoshop or illustrator.

Ideas for content include a poem broken up into five parts, a digital sketchbook, and exquisite corpse.
One of our technical objectives is to introduce the use of div tags/layers. Another is the placement of flash over html content. This will be covered in demonstrations in class.

This is our final assignment, and we are looking for a mastery of course material. It is also one of the more open-ended assignments in terms of content. Make something interesting.here is one by Muroshima that is a hybrid , another by Miclat , Mokhtari - note how the project is placed in the upper left corner to eliminate problems with centering layers. Here is a flashed book project by Samarkand

How to make a Flash movie with a transparent background that you can place over a table, using layers:In FLASH

Choose File > Publish Settings. Select the HTML tab.
Choose "Transparent" in the WMODE setting to make the Flash movie's background disappear in browsers which support this feature.
Publish the document.
Dreamweaver will insert the correct HTML code automatically.
In Dreamweaver, insert the Flash movie into an HTML page.
Select the Flash movie in the Design View.
In the Properties panel, choose Parameters.
For the Parameter, enter "wmode" (without quotes). For the Value, enter "transparent".
Save the document. The HTML page is complete.
The above steps were taken from this link
download preloader here
pageflip zipped

De Stijl

2007-09-03T18:12:00.000-07:00

Math has been thought to carry some sort of formula that can say a lot of everything that pertains to this world. Some experts may also declare that everything in nature can be explained with math. In the case of the Russian art movement, De Stijl, geometry and precise measurements were used to create art that was used to represent it all. It can be said that geometry was taken to the ultimate expression as far as art is concerned. Artists Théo Van Doesburg and Piet Mondrian most importantly represented this movement and all of their work revolved around this De Stijl concept. Many artists at the time were drawn to join the group but most of them didn’t make it until the end in 1931. This paper will discuss the De Stijl doctrine and some of the internal conflicts that occurred within the group. I will mostly concentrate it in relationship with Van Doesburg Mondrian, and architect J.J.P. Oud. I will conclude with the influence and legacy of the De Stijl.
To place us in context, I will begin by describing what De Stijl was about and the historic background that was occurring at the time. The De Stijl came to being at a time when industrialism was thought to be dehumanizing people and concentrating them as work force in mass rather than to be looked as individuals. Members of the movement believed in utopian ideals and in the start of new era at the break of WWI. (Gardner’s Art through the ages, Fred S. Kleiner, 1048)
The journal De Stijl initial edition was published in November 1917 in the Netherlands. The usual people who usually supplied this publication with editorials and illustrations were among them painters Piet Mondrian, Vilmos Huszár, Bart van der Leck and Theo Van Doesburg. (De Stijl and Dutch modernism, M.White, XII) Architects where also involved in the journal, such as J.J.P Oud and Jan Wils. In fact, a significant amount of importance was given to the relationship among visual art and architecture. Theo Van Doesburg was the editor of the journal from the first edition to the last. It was his publication in a sense and he was also the heart and soul of this movement. The actual De Stijl manifesto didn’t make it to the journals pages until November of 1918. This manifesto expressed the movements’ intentions towards the field:
There is an old and a new consciousness of the age. The old one is directed toward the individual. The new one is directed toward the universe […] we must realize that life and art are no longer separate domains. This is why the “idea” o “art” as an illusion separate from real life must disappear. The word “art” no longer means anything to us. In its place we demand the construction of our environment in accordance to creative laws based upon a fixed principle. These laws, following those of economics, mathematics, technique, sanitation…are leading to a new, plastic unit. (Kleiner, 1048)
Conflict began to develop after the manifesto was published and some of the artist decided to pull their names out of the list. The other reason why some of them withdrew from the group was mostly due to differences with van Doesburg. (De Stijl: The formative years, Carel Blotkamp, IX) This can be said in relationship to architect J.J.P. Oud who refused to sign the manifesto in 1918. He believed that the rhetoric of it was too radical and that it might be to open to be read as communist, and that his career might be at stake. The truth is that van Doesburg and Oud represent another issue inside the group; the rivalry between the painters and the architects was pretty obvious. Van Doesburg thought of him more than just an overvalued decorator, whereas Oud deemed architecture to be primary and color as a complement. (White, 56)
Mondrian and Oud met in the summer of 1920 for the first time. It is also possible that it was the only time they ever did (Blotkamp, 70) Members of De Stijl didn’t really interact much with each other or even live close. Van Doesburg wasn’t really enthusiastic about Mondrian and Oud meeting because he knew that Mondrian wasn’t really interested in architecture. At this time, Mondrian was experimenting with color and this is when van Doesburg advised Oud to pay the visit. Oud rejected Mondrian’s color designs for the housing at Spangen and van Doesburg infuriated. This was the determinant on the departure between van Doesburg and Oud, as well as the beginning of the end with Mondrian. (Blotkamp, 70)
Mondrian’s thoughts on architecture were play a part on the decline of his bond with van Doesburg, but it wasn’t all. In 1922, Van Doesburg expressed an idea that involved the many areas of art in a macro picture. Some of the points that van Doesburg required with this new concept appeal with Mondrian’s theory of Neo-Plasticism¬¬¬–painting of relationships through line and color alone, completely free of limited form or a particular representation¬¬– (The new art–the new life, the collected writings of Piet Mondrian, Piet Mondrian, 227), except for one. He thought that an artist should contemplate the new scientific finding that perception is reliant on place and time; he had a “dynamic picture of realty”. As Carel Blotkamp explains: “Movement in space and time implied that there was no constant, fundamental idea any more; with time, the standard according to which reality could be tested changed. Mondrian’s theory was based on the opposite principle. He was convinced that there existed one universal reality, which as the same in all places at all times”. (72) In 1923, van Doesburg declares his amendment of the Neo-Plastic ideology by adding Elementarism. This involves the introduction of the oblique to convey a “dynamic opposition to nature” (Mondrian, XXIII), also known as Counter-construction. Mondrian’s last appearance in De Stijl journal was back in 1924.
But De Stijl wasn’t all about conflict. The group didn’t only create a drawing simplified geometric approach, but it also endorsed the idea that art should be deeply built-in into living surroundings. As Piet Mondrian once stated “Art and life are one; art and life are both expressions of truth”. Architect Walter Gropius took this concept as his own and made it the basis not only of his own production but also of many generations of students that were deeply influenced at the Bauhaus. The first steps towards modern design were taken by De Stijl in many ways and they carried a defined style that has influenced many generations and more to come.
“As enemy of all theory – objectionable because it is stagnant – I am of
the opinion that an attempt at innovation is only justifiable when it originates from the living impulse of an individual or a nation. This is what I have taken for all I could detect in various countries… The ‘new’ can only be found where a sacrifice is made, and this enables us to distinguish the true new vitality from humbug and snobbism.”
Theo Van Doesburg
Bibliography
1. Blotkamp, Carel “De Stijl: The formative years 1917-1922”, translated by Charlotte I. Loeb and Arthur L. Loeb. 1982. MIT Press, Cambridge, Massachusetts.
2. Kleiner, Fred S. “Gardner’s Art through the Ages” Eleventh edition, Volume II. 2001. Harcourt College Publishers, Orlando, Florida.
3. Mondrian, Piet “The new art – the new life, the collected writings of Piet Mondrian”, edited and translated by Harry Holtzman and Martin S. James. 1986. G.K. Hall & Co. Presses, Boston Massachusetts.
4. Doesburg, Theo van “On European architecture, Complete Essays from Het Bouwbedrijf 1924-1931”, translated by Charlotte I. Loeb and Arthur L. Loeb. 1990. Birkhauser Verlag, Basel.
5. White, Michael “The Stijl and Dutch Modernity”, Critical Perspective in Art History series. 2003. Alden Press, Great Britain.