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AEContent is getting a Makeover! PDF Print E-mail
Written by Site Administrator   

AEContent will be redesigned and reorganized during the fall of 2007. All of the great tutorials and ideas will stay online but we'll be slimming down some of the unused parts of the site. AEContent members accounts will remain active through the fall.

You can continue to find out about MassArt's Continuing Ed Courses and Workshops at:
MassArtPlus.org

MassArt's k-12 Youth Programs

MassArt's Art Education Department

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Art & Architecture During the American Industrial Revolution PDF Print E-mail
Written by Site Administrator   
ImageSummer 2006 Content Institute

Summer Session: July 10-21, Monday - Friday, 10am-3:30pm
Follow up Sessions: September 30, November 4, & December 2, 2006
Massachusetts College of Art, Boston Campus, 621 Huntington Avenue, Boston


Free of Charge to Massachusetts Middle and High School Teachers
Presented by Massachusetts College of Art, Boston Public Schools, Arlington Public Schools and Massachusetts Department of Education

ABOUT THE INSTITUTE
Massachusetts boasts some of the country’s finest examples of 19th century public art, architecture and landscape architecture. From Trinity Church to Olmsted’s Emerald Necklace, Boston and its environs provides the perfect classroom setting for this special summer content institute: Art and Architecture during the American Industrial Revolution. Employing a strong cross-disciplinary approach including hands-on art-making activities, the institute will focus on the significant artists, architects and works produced during this seminal period of American political, industrial, cultural and artistic growth.

The Institute will offer participants intensive content in the art history and explore the many connections between the art and artists and the social, political and cultural ethos of the time.

HIGHLIGHTS

  • Free-of-Charge for Mass teachers
  • Printmaking in MassArt’s State-of-the art- Print Making Studio
  • Lectures & slide presentations by MassArt faculty, visiting experts.
  • Public Art and Architecture tours.
  • Support for designing curriculum to enhance thinking and understanding.
  • Reference books and curriculum materials supplied.

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Batch Processing with Photoshop PDF Print E-mail
Written by Eleanor Ramsay   
Photoshop is a powerful program that can be intimidating to the new user.

One question that comes up a lot is "how to batch process files."

While Photoshop includes a variety of pre-made "actions" -- macro scripts that perform repetitive tasks, "resize" is not one of them. This is because there is no "standard" resize action. One day you might want to convert a lot of photos to web-resolution images, another day you might be making thumbnail-size buttons.

So, Photoshop leaves it to the user to create each image-size action when needed.

The process is rather simple, once you get past the quirkyness of "recording" and "playing back" your resizing process.

Open an image you want to resize

Open the "Actions" window, Select "new action" and start recording (the software will automatically be recording your actions, selections, mouse movements, etc) the resizing and saving of your first image.

Stop recording (select the stop button, grey square) and Save that action.

Run your action by selecting Automate > Batch

Choose
your newly created action.

Set your saving particulars and run the action script.
Drawing from Observation: Lesson PDF Print E-mail
Contributed by John MacPhee   

MassArt/AEContent Observational Drawing Workshop
by John MacPhee

Create an 8 page signature by folding 4 sheets of 9x12 white drawing paper.

On page 1 write the name of your object and your name and the date.
I suggest you write any notes directly on the pages you draw on. For each drawing select the elements and principles of art you think most important and write them down.

On page 2 write a brief description of your object without naming it. Write a list of descriptive words if you prefer.

On page 3 create a schematic drawing of your object. This drawing should look like a mechanical drawing or plan of your object. Write a sentence about what you learned about the object from this drawing.

On page 4 create a contour drawing of your object. Focus on all edges and linear details. You can do a blind contour if you wish. What does this drawing tell you about the object? If you had your hand holding the object, what would this add to what you know about the object?

On page 5 create a full value/tonal drawing of part or the whole object. Include the direct lighting area, half-tone/color of the object, shaded area, shadow and reflected light. What more information did this add to your knowledge of the object?

On page 6 create a drawing of the object (or part of it) in color. What information does this add?

On page 7 create a drawing of what it might look like looking out from inside your object. Make this as representational as possible. What does this add to your information?

On page 8 make an abstracted drawing of your object (or cubist drawing).

Capture what you think is the essence of your object (or its physical reality from multiple views).

On page 9 create a drawing in which you start with the real and transform your object into something else.

On page 10 write briefly about an experience you had with this object (or make one up). What does this add to your knowledge of the object?

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