Note: It is highly recommended that you read So What’s With Jane already? A Primer on Pictorial Composition. (Part I) and “To the makers of music – all worlds, all times.” A Primer on Pictorial Composition. (Part II) before embarking on this installment. “Science shows us truth and beauty and fills each day with a… Continue reading
Note: It is highly recommended that you read So What’s With Jane already? A Primer on Pictorial Composition. (Part I) before embarking on this installment. “One does not meet oneself until one catches the reflection from an eye other than human.” –Loren Eiseley Dr. Sagan responded to this challenge by assembling a team to create… Continue reading
Each spring I would find my college classrooms filled with a number of students intending to continue their educational journey after graduation. They would often ask about which schools or programs were “best”. I would always meet their question with one of my own: “What do you intend to do after school?” It was their… Continue reading
This feature is intended to offer clear insight into a particular aspect of my own process. It is not intended as an argument for the superiority of any one artistic device. Reilly’s palette “consisted of nine equidistant values of neutral gray mixed at the top of a glass palette. Below that row were 9 equidistant… Continue reading
I would like to make clear that the comparisons presented here are limited to the pencil forms of both compressed charcoal and graphite. I am not taking into account powdered graphite/charcoal, charcoal or graphite mixed with alcohol, or any other significantly less-common (in modern day atelier training) application of either material. Additionally, this comparison is… Continue reading
The McCulloch-Pitts model is an extremely simple artificial neuron model with inputs and outputs that could be either a zero or a one with each synaptic input being either excitatory or inhibitory. The dynamic of the MCP model was to simply sum the inputs. If an input is one, and is excitatory in nature, it… Continue reading
“It is this difference between scientific accuracy and artistic accuracy that puzzles so many people. Science demands that phenomena be observed with the unemotional accuracy of a weighing machine, while artistic accuracy demands that things be observed by a sentient individual recording the sensations produced in him by the phenomena of life.” –Harold Speed, The… Continue reading
A significant issue that continues to plague the growth and development of quality arts education is the deficit of quantifiable learning objectives and effective outcome assessment. With increasingly vague parameters and seemingly elusive learning objectives, art programs continue to rely on problematic assertions of collateral contribution to justify their existence. In 2007 the New York… Continue reading
While I do understand the desire for an artist to want to distinguish his or her efforts from the competition–I’m not sure that all distinctions are valid. Not once in any art history class do I ever remember learning that the use of imaging technology was a disqualifier for a “classical” or “traditional” label; however,… Continue reading
Now, if we are speaking of strict observational replication, we do not need to conflate our process with anything more elaborate than standard “ground-level” classifications of visual elements. Let’s take value for example. If my goal is limited to the strict replication of a spherical model, my aim is to apply and arrange values in… Continue reading