Journal 10

On Friday, we had our group critique with Jim. I was quite nervous since my topic is kinda geeky and not a typical fine arts subject. But I managed to pull through it and got some advice and suggestions. What received the most comment was when I discussed the issue of print versus digital media in the comic industry. Jim suggested I should take advantage of my internship and interview some of the employees of the situation.

I decided to start casually and asked my co-worker/superior on her take of the issue.

ME: What is your take on print media becoming more digital?

SG: Its a smart move since everything is going digital. However, I do like printed comics to read in hand.

ME: What do you think about the company going digital?

SG: People are more willing to buy digital now, even though there is more value in a printed edition. The company would be left behind if they didn't make the shift into digital. It was a smart financial move.

So today, my boss graciously agreed to an lax interview over a slice of NYC pizza. I thought we would discuss at the pizza place, but the workload on my boss' plate was too much to leave the office too long, so we casually discussed while walking and back at the office. Unfortunately, I didn't have a recording device on me so I had to remember what I could until I had time to jot down notes. I will try to get a more accurate interview later -- for now, I'll share what I have learned so far.

ME: What do you think of print media versus digital media?

TS: Let's start with the development of the digital media. Starting with video and cassette tapes, everyone had access to these products and devices. They were easy to use, fix, and you were able to record as much as you wanted. When CD/DVD were introduced, it was not openly welcomed. They were easy to break, not recordable, and everyone would have to get new players for them. But it eventually became a common household item and is accessible to everyone. Now technology is so advance that its been downsized to files that can be accessed through phones, laptops, and e-readers.

• Pricing: print products are more expensive than digital. Blu-Ray is not exactly a steady investment, it cannot to other technologies like other devices and only for hi-definition quality.
• Work Process: Print materials are so expensive. Quality is not always on par.
  
• Distribution and value
  
• If the company fully switched to digital, people could be hired again. People would be all on one system and share the tasks. It would level off.
  
• Future of epub3
  

ME: Do you know about the company's situation with the cutbacks?

TS: I know very little about it. From what I do know, its mostly the diving sales from the comics. The materials for paper, printing, stapling, and shipping add up. Especially when printing thousands of a single issue for distribution.

ME: Going digital?

TS: Apple became the #1 company of digital devices. Steve Jobs illustrates their success, "People don't want to think about what they're using--they want the device to work for them. That's what our products do, they work with you." (not exact quote)

ME: Driving force of a comic, the art or the story?

TS: The art. You can still sell a 'comic' as pure art. There are few comics like that already. Art is also subjective. If you only had the story, then it would be a novel.

ME: What do comics mean for you?

TS: An escape, entertainment. There are all kinds to indulge in. They also express the idea of the times. Like when there's threat of nuclear war -- how would it effect us all? Peter Parker got bit by a radioactive spider and became Spider-Man. Bruce Banner got hit by a gamma-radiation bomb and became the Hulk. They are expressions of ideas. No need for tights.

ME: Can you compare the intentions of when comics started out 'til now?

TS: I think everything is about money, success. Today's ways of world thinking is changing. Back then, you could by a comic in a grocery or candy store for dirt cheap. The story was more important as well. More targeted at kids, but adults read as well. Depended on where you were and what you wanted to read.

Sales of comics is the most importance. Fail to get consumers is the failure of the industry.

ME: How did you choose this company?

TS: I think our company is more grounded than the competition. You have to pick a side. I like the characters and costumes. But really, when saying which one you like better, you make up any reason to fit your reply.

ME: What do you think of the competitor company's revamping their comic universe?

TS: I liked the reboot. It was a smart choice. These characters have been around so long, things can become predictable. Also they've had such a long series' its hard for new readers to get into. The character universe is so enormous. I think comics needs to rattle the cage now an then so they don't become timeless.

Journal 9

Proposal & Critique this Friday!

So I just found out that one of my favorite comic series is being cancelled due to budget costs! o_o

Recently, the company has been making cuts in their current and planned to come series. It didn't really bother me until the one I followed was effected. It was such a promising series and quite popular but this is not the only thing the company has to deal with. Considering our current economy, I should be used to hearing people are getting laid off, but it never struck me as a student, protected by the four walls called school until I got an internship and co-workers around me are here one week and gone the next! What a frightening time to go out into the world with dismal chances in making a living!

As upsetting as that is, its not the only thing I want to share. The comic industry is having a hard time since printed media is not a major product anymore. Not just comics, but also newspapers, magazines, and even books! All because our generation is heading into the digital era. But what is so great about going digital? Is it because its possible now?

To me, digital media is only good for convenience, like when your traveling or if the object is large. In the end, I still want to hold and read from a physical book, then I don't have to worry about bad eyesight from staring at a screen. Also things take long to load and you have to follow page by page. Sometimes, I can't wrap my head around 3-D graphics because we are not used to them on a physical plane. I know these sound like silly little quibbles, but that's how I see printed vs digital.

I'm still trying to figure out how I want to go about my thesis proposal. I know I want to showcase comics but I need to incorporate something based off my concentration which is graphic design. For now, I see having a installation of color panels with comic images and making a related book(s). The installation is for the purpose of reading into the imagery without text. The book(s) are for understanding the topic through literary means. I want the color panels to be raised off the wall, either framed or as sheets on canvas. As for the book(s), I'm not sure how much information I can pull legally and how much will be my own? And if this is too boring, should their be an element that stimulates the senses? Like an audio piece or make a series of flip-books? I don't want to digitize the book/images because you lose the importance of print media and physicality of holding that book in your hands.

As for the topic, I want to approach this massive monster as a beginner's guide to comics. Its not just for kids or the Sunday newspaper, its enjoyed by all ages and brings together brilliant artwork and storytelling. (this sounds so geeky) But its true! Comic companies get professional writers from all over, such as television, screen/play, and even novelists. And instead of just simple text to tell you the story, there is great art that brings the characters and scenes to life! Its like watching a film minus the audio and movement.

Journal 8

This past friday, the design students went on a field trip to NYC and checked out a couple of design studios. Our first stop was Chinatown to visit the Common Name design studio who also shared space with Linked by Air. Our class had met one of the owners of Common Name, Kevin, as he was a guest critic at our final project presentation last year in Design 2-B with Niel. Unfortunately, the space was not meant to house 20+ students with baggage but we still managed to squeeze. Kevin and Yoonjai shared their work from their studio as well as work done previously from other design firms. The bounded books were great! I liked the Transformer project in Seoul from 2 x 4. Its a 4-faced pyramid that can be physically turned over to suit the event and each face is a different shape. The building is bound together by a membrane fabric. Dan from Linked by Air shared a couple projects that they have worked on. The one he talked about the most (and probably the longest) was the Yale Art School website and its user design functions. Yale wanted to make the website customizable by its students and show their design skills.

We had to skip Artist Place due to the last presentation going on too long so we headed to the last stop on our itinerary which was the Whitney Museum Design Studio. Although it was a very impressive space, the guide had not much of anything to show us as they had just finished an exhibition.

Journal 7

This week's research turned up some interesting videos. The first vid (from a set of 10) is a documentary about the history of comics, its development, and reaction from the public over the years with interviews from comic artists and creators as well as experts of various professions.
The second vid (from a set of 5) is a documentary about Roy Lichtenstein and how is career is art began. Rutgers is even mentioned. His work was the first result in my research of artists/artwork related to my thesis topic. I saw a large painting of his at the Guggenheim not to long ago. It was in the room with all the pop art and almost took up a whole wall. It was a perspective scene of a living room and a large mirror in a comic graphic style. However, the mirror's reflection wasn't exactly correct as the reflected scene was somewhat inverted.

Here is some insight from Understanding Comics:

Roy Lichtenstein 1/5

Uploaded by androidsinagony on Apr 29, 2011

Roy Lichtenstein 1/5

In 1990 Melvyn Bragg interviewed Roy Lichtenstein for The South Bank Show, filming the artist in his studio in New York. Lichtenstein, who died in 1997, was the artist hailed by one newspaper in 1964 as 'One of the Worst Artists in America Today' but whose works now fetch tens of millions. In the opening moments of the documentary we see his Torpedo...Los! achieve $5.5 million at auction, a record at the time.

Once Upon A Time The Super Heroes (1 of 10)

Uploaded by Batmitey on Dec 6, 2007

Once Upon A Time The Super Heroes

This is a documentary made in 2002 about the creation and evolution of comic book superheroes (with a greater leaning towards Marvel comics.)

It show us superheroes such as Batman, Superman, The Flash, The X-Men, Captain America, Silver Surfer, The Fantastic Four, Hulk, Daredevil; with more of a focus on Spider-Man because of the movie released at the time.

The documentary features the creators, writers & artists behind the superheroes such as Dave Gibbons, Alex Ross, Jack Kirby, Stan Lee, Travis Charest, John Romita, Joe Kubert, Jim Lee, Carmine Infantino, Joe Simon, Mark Evanier, Paul Dini, Neal Adams, Joe Quesada, John Buscema, Bill Sienkiewicz and radio interview with Jerry Siegel.

Journal 6

Something that made my day a bit better...

Fat Is Not a Fairy Tale - Jane Yolen

I am thinking of a fairy tale,
Cinder Elephant,
Sleeping Tubby,
Snow Weight,
where the princess is not
anorexic, wasp-waisted,
flinging herself down the stairs.

I am thinking of a fairy tale,
Hansel and Great,
Repoundsel,
Bounty and the Beast,
where the beauty
has a pillowed breast,
and fingers plump as sausage.

I am thinking of a fairy tale
that is not yet written,
for a teller not yet born,
for a listener not yet conceived,
for a world not yet won,
where everything round is good:
the sun, wheels, cookies, and the princess.

Why must fairy tale princesses be stick skinny? Why not have a realistic-figured woman to look up to and admire the same good qualities? I think there's always a chance that someone would be willing to break the boundaries between fantasy and reality, making characters who people can truly relate to.

Sorry! I will upload sketches later this week. Its been pretty busy and I have to get a lot done with no time between.

Journal 5

Looking at blogs about comics.
This site showed some classic scans of female characters in emotional scenes.
http://www.theworldsbestever.com/2010/01/07/why-women-cry-according-to-old-comic-books/
I liked how the person labeled the characters.

For current news, community, & database I check these blogs:
comicvine.com
scans-daily.dreamwidth.org

I'm starting to read a book called "Understanding Comics"
Hopefully I'll get more insight into what I can achieve for my idea.

Journal 4

New idea! Well, more like new content, but same vehicle. Still want to use installed imagery outside of the book. But my content is 'elements of comics'. Thinking more about thesis and what I really wanted to make lead me to change my idea. At first, I thought I wanted to do something based on my identity and heritage since I have interest in such but there was not enough connection to me and I didn't feel as excited as I thought I would about the topic. So I thought about what do I really like now and wouldn't have a problem working on for the year which lead me to comics. Since I am also interning in a comic company I thought this would be a perfect way to explore more of my interest and intersects with my studies.















This is a rough image of my idea so far. The top row of scenes would consist of either; color gels + lightboard, resin sheets, or plexiglass. The line art would be either attached on top or slightly raised. These scenes would be mounted on the wall or shelved depending on what is the better approach. I would definitely draw original scenes for the line art in case of copyright issues. I took out the text so that although the color gives an idea of the mood, the scene is up for interpretation by the viewer. The book comes into play as it would discuss the essential elements of graphic narratives such as romance, drama, action and so on. Next to the romance page is a selection of quotes. (although I substituted in film quotes) I want to have each section of the book have comic quotes that fit the genre and could relay back to the installed images. Although I would appreciate comments and suggestions of this idea.

While trying to put this together, a lot of my searches showed works by Rob Litchenstein.

Journal 3

I'm trying to prepare for the Mason Gross Annual as well as the Critique this friday! I feel so swamped with my studies, projects, and my internship. Thank goodness I had a talk with Jim last friday. We discussed where my idea and research is going. I decided I wanted to expand outside of the book and use an installation to enhance and interact with the book. I want use the idea I had in my very first entry where I researched artists who made color installations. I want to integrate color panels that are lit up from behind and have outlines of images relating to the book on them.
I was thinking that I can use color gels on light boards and have them mounted on the wall above the book. Maybe I should might make a book per light board? If this is too costly, there's always colored resin.

As for the topic, I was thinking something like a narrative. Maybe "a day in a life" sort of story. I need to research more into this. I will have to update this later...

Welcome Back Show

I think that the Yellow #2 Gallery Room worked the best. The colorful pieces complimented each other while the 3 monochromatic pieces balanced out the color. Most of them had geometric shapes except the one abstract painting of a woman. The large graphite sculpture that stood in the middle captured the attention of the room but also communicated well to the mounted flat pieces on the walls. The white sculptures on the floor grounded the large sculpture piece as well as invaded the floor space. Most of the pieces on the wall were a small size except the one painting.

The Red Room was not as coherent. I think the sculpture piece closest to the entrance was 'undermining' the room. To be blunt, I thought that it was dumped there because there was nowhere else to put it. The room had the largest pieces and had a diversity of subjects and media. I think what was mounted on the walls communicated well to one another in color, tone, and scale.

I liked Latoya's Art 21 video the best. I saw it the day before Thesis for my Seminar in Video class. She made it an intimate conversation with the viewer by having a chair in front of the television. I found her story and performance piece moving.

Journal 2

I feel like I keep bouncing from idea to idea... Its hard to find an interesting and deep topic that I am interested in, especially what angle I want to present it in. After thinking more about my idea, a woman's role in China, I found that the conversation could lead into feminism and how other cultures deal with feminism. I am not such a strong advocate of feminism. Actually, I am grateful for the privileges I currently have as a woman and as an ethnic-diverse person in this day and age. I can go to school, have a career, earn a living, be socially and politically involved, and choose whom to be in a relationship with. Back then, I would have probably been poorer than dirt and treated as such.

Our recent graphic design assignment has piqued my interest as we combined video/animation with typography. Although I thought the assignment was a little rushed with only a two weeks to work on it with a program we were just introduced with in class. For the assignment, we had to animate haiku that we found and make the video as long as 30 to 60 seconds. We used After Effects from Adobe. Some people made a theme to their video based on the haiku they found like the seasons or modern things. It was optional to use music, but I learned in Video 1-A that music choice is crucial because the viewers are can be more distracted by the tune than watching the content of the film. Also the timing of the text would have to follow the music as well as finding the right kind of song. My video is comprised of 5 haiku and is about 40 sec. It seems long when working on it in the program but I found out when presenting it was a bit quick and cut too soon. There are also some changes to be made in my choices of animations to some of the text. I enjoyed this project and learned quite a bit. I hope to expand my use of text outside of printed paper.

Journal 1

A couple weeks ago, I was in Critique A with Jim. It was a great experience looking at other people's work from different concentrations. Although, I felt a little awkward since I have never critiqued paintings or photos before. I was quite nervous when it was my turn. Like me, not many people in the class knew about graphic design.

When Jim asked what I'm thinking about for thesis, I was panicked. I didn't really have a solid idea but I gave my messy pitch. Out of all the past projects I've done in graphic design, I think the most gratifying and engaging projects were making booklets. For my topic, I wanted to use some sort of personal experience since all we use in graphic design is given information/data. I want to share my mother's family history, discussing the female role in China from my grandmother's generation to my mother's. The group & Jim agreed I should give it a shot and collect as much information and research for now.

From what I know off-hand, my mother's family immigrated to Canada to escape the war and find a better living. When they were in China, they owned property, had a farm, and had six children. Unfortunately, it seems my grandparents didn't keep much of a journal before they past away. It would also be hard to interview my mother's side of the family since they are in Canada and some are on vacation. So for now I think I'll have to go for a general scope of the issue.

There is much controversy in long and historical cultures when it comes to living in traditional or modern values, especially when it comes down to the woman's role. For centuries, Chinese women have been the inferior person in relation to family, spouse, and social standing. They had duties to fulfill for their family and gender. Parents of the bride chose the groom and when she would marry, she will marry into the husband's family losing ties to her old one. She also had the duty to bear a son to inherit the family wealth and continue the lineage. However, the modern thinking does not force women into subjection and belittlement. Women can now choose who to have a relationship with, have a career, and wait to have children. But such drastic changes also cause troubling effects. There have been reports of population concerns as more women are thinking more about an independent lifestyle and career, it is harder for men to settle down and have a family.

Here are some resources I have looked into so far:
"Chinese Family" - Ebrey
"Life Cycle" - Mann
"The Joy Luck Club" - Amy Tan
http://news.xinhuanet.com/english/2007-07/31/content_6454831.htm
http://kaixin.com.au/women-in-china/2011/1/1/marriage-in-china-ancient-modern.html
http://shanghaiist.com/2010/01/11/the_modern_chinese_woman_financiall.php
http://www.faculty.de.gcsu.edu/~dvess/ids/global/wcon.htm
http://www.youtube.com/watch?v=Ax3dRAEgosY

As for the design of the book, I've been thinking of presenting text on translucent paper that is on top of an image. Possibly do a booklet series of simple images that show the difference of modern and traditional Chinese women -- maybe like a children's book. Maybe I don't need to print on paper at all! (well--that is a bit too drastic)

I'm still trying to figure out my angle and approach to this topic. I think this is an important issue to share, not just because I connect to it, but I think it effects a majority of people that aren't the same ethnicity as well.

Ms. Nicole Mauro

Nicole Mauro is a senior majoring in painting. She also focuses on printmaking. She incorporates paper materials in her paintings and uses pale or muted colors. She draws inspiration from organic processes. She is planning her career as a professional painter in an art gallery.

Louis: What materials do you use in your paintings and printmaking?

Mauro: Well, in painting i use oil paints. But recently, I have been incorporating found papers such as newspapers, sandpaper, and whatever I can get my hands on. It's almost like manipulating texture with texture.

Especially since most of the work I showed you is on canvas, it's like paint and texture on top of a textured canvas. In terms of printmaking i mostly print on paper but i have also really enjoyed printing on transparency.

Louis: So do you want texture as a focal point in your paintings versus a flat image?

Mauro: Maybe not as a focal point, but more like a vehicle to describe something. Sometimes in a series, I'll end up working purely in collage.

Louis: How do you describe your style? Do you convey a specific message/emotion in your work?

Mauro: I work with what attracts me. Google Earth images are important to me and through my paintings I almost try to discover why. I also like to work with this idea that anyone with a computer can use google earth to see a place. It's like seeing without actually seeing.

Also, I have this weird affinity for certain shapes such as rust patterns and pulled up tar. So I try to connect the geometric man made boundaries of google earth images with organic naturally occurring patterns.

Louis: Do you look at other sources of inspiration/relation to your work?

Mauro: I look at a lot of artists, which is something I was sort of naive about before encountering the really smart faculty. I look at Lisa Sanditz, Peter Halley, and Paula Scher.

Louis: Would you incorporate more mixed media in your paintings? Even step out of using canvas and paint on objects?

Mauro: That's something I think about a lot. I mean there's something to be said about making the decision to paint on canvas and I don't think I actually make that decision.

I would like to work on a different surface such as glass or wood.

Louis: May I ask, why do you have an affinity to the natural world more so than the modern creations and digital media?

Mauro: Digital media is really terrifying to me! (haha!) But it's not so much nature it's just i like what organic processes produce. Especially in comparison to what we, people, produce.

Louis: What makes organic more intriguing?

Mauro: I guess maybe it's more relatable to me. Spill spots, drips, rust stains...they just "look" nice to me.

Louis: Did you know you wanted to do painting since young? Or when you became an undergrad?

Mauro: No I didn't even want to go to art school when it was like "college search" time. I had this idea of going to some really small school and then I applied to Mason Gross for the hell of it, got in and realized I really wanted to be working in art.

Painting seemed like a default choice in retrospect. At one point I got so bitter about painting and all I wanted to do was print. But now I recognize that it doesn't have to be one or the other.

Louis: Yes, after a while, they all seem to connect. Do you have experience in other arts?

Mauro: I've taken classes in figure drawing and the basic artmaking ones, but besides painting classes I've done silkscreen, litho, intaglio, letter-press, bookmaking, paper-making.

Louis: Do you think these skills influence your painting or vice-versa?

Mauro: Oh yeah! Printmaking allows me

to sort of breakdown a painting, even if it doesn't exist. It makes you think differently, it's easy for all of us students to get stuck in rut.

Louis: I've noticed you use pale/muted colors. Is this preference or choice?

Mauro: Yeah it's a preference, which is something i didn't recognize until my professor pointed it out. I think I am staying true to the colors of these computer images but really it's a matter of my taste. I muddy everything.

Louis: Mud is always good. :) What do you think of critiquing? Is it different than print? Do you benefit from it?

Mauro: Most of the time, if not all, you're painting critiques are with all painters.

With the size of the printmaking program you get a more diverse group of people looking at work which can be nice but can also be terribly frustrating because you know in a painting class it might go differently, whether good or bad.

I benefit MAJOR from crits! They are so important!

Louis: Do you think you learn from crits that you give to your peers?

Mauro: Yeah, I mean speaking aloud about someone else's work can be like speaking to yourself. You notice what you notice.

Louis: Do you have a goal you wish to achieve as an artist?

Mauro: It would be really nice to be working as an artist.

Louis: Gallery-wise or a specific occupation? Freelance?

Mauro: I mean the ultimate would be working and showing in a gallery and selling!

Louis: Any ideas for Thesis? Possibly use different media?

Mauro: I should have had an answer prepared because I knew it was coming!

I try to not let myself think about the end result and just work in the moment and see where it takes me

If thesis were tomorrow I would want to be showing my paintings but hopefully with more printmaking involved.

Louis: Thank you for your time!