PROJECTS
PROJECT 8: Final Image Concept
We have been exploring various methods of making up until this point. Take some time to reflect on the process and artworks you found most compelling in this class. Complete this proposal and strategically develop a well crafted, engaging work of art. Keep in mind that you will until December 9th to complete this project.
+Proposal are due Nov. 18
PROJECT 7: Appropriation of Process
Appropriation of images is common throughout art history and culture. This project moves a step further into the appropriation of process as a means to move away from the comfort of our processes and explore other modes of making.
Step 1: Chose and artist works you find unappealing. Analyze the artist process of developing artwork through researching their websites and other sources.
Step 2: Appropriate the artist process of making works to create a set of 4-7 artworks.
Step 3: Put together a powerpoint that maps out the process of the artist you have choosen as well as your images. (Do not include any images of the artist art in the presentation, however you may use diagrams and sketches to help illustrate their process)
+Be ready to present your powerpoint presentation Nov. !8
Artist Sites
Eric Fensler | immo klink | Bruno Latour | Beatriz da Costa | Ricardo Miranda Zuñiga |Prema Murthy | Oliver Ressler | Kieth + Mendi Obadike | Olia Lialina | De Geuzen | Josh On | Young-Hae Chang Heavy Industries | Ricardo Dominguez | Alexei Shulgin | Trebor Sholtz | Coco Fusco | Guillermo Gómez-Peña | Steven Greenwood | Patrick Lichty | Komar & Melamid | Natalie Jeremijenko | Faith Wilding | Martha Rosler | Ricardo Dominguez |Adrian Piper | Krzysztof Wodiczko | Joachim Blank & Karl Heinz Jeron | Ricardo Iglesias García | Heath Bunting | Páll Thayer | Andy Deck | Ivan Pope | Packard Jennings | Joey Skaggs | Rev. Billy | waxweb | yugop | Simon Biggs | World of Awe | planktonart | They Rule | Eric Loyer | Webyarns | Hotel | Gods of Chinatown
+Artnow online
+Art 21 interviews
Timeline:
Steps 1-3: - 1 week
PROJECT 6: Imagined Alternative Images in Time and Space
This project requires you to explore image making in relation to time and space. You will develop a manifestation of an ideal imagined alternative through these images in relation to time and space.
Step I)
a) Create an image or group of images that address how you view the movement time without using traditional forms of iconography (for example a clock).
b) Create an image or group of images of your ideal imagined alternative space. Use this framework of questions to help define your ideas for this space.
Step 2) Combine your perceptions of an imagined alternative space and time to create a single large print. This print may include text in relation to your imaganigend alternative. Also consider the various methods of image making we have previously used in class.
+ The Museum of Jurassic Technology
+Tolkien Museum
+Halo Museum of Humanity
+Funk Praire Home and Gem Museum
+ Writing another Future
+Hokes Archive
+Fictive Art
Timeline:
step 1- 1 week
step 2- half a week
PROJECT 5: Interpretations of culture through sequence
This assignment is based on the creation of a series of images designed to be experienced in succession. The starting point is to be a topic you know nothing about but have a small interest in. For example: exploring your heritage, developing an understanding of another culture of someone you know.
Step 1) Research your topic using a minimum of five sources.
Step 2) Write a narrative script that describes your topic( 2 pages).
+Guillermo Gomez Pena
Step 3) Lay out a simple storyboard. Your solution can be one of the following forms: a slide lecture (yes you and a powerpoint, or somethign similar), video, printed comic/book. If you're really ambitious, you can utilize a combination of all three.
Step 4) Make it.
Requirements: It has to be one of the 3 forms given above.
Timeline:
steps 1 to 3 - 1 week
step 4 - 1 week
+Freeze motion film by Garden Hills Elementary
+Comic Revolution
+Elizabeth Lapensee
PROJECT 4: Imaging Data
We have probably all become familiar and accustomed to seeing information presented in the various forms and levels of abstraction that are now commonly referred to as "infographics" or "datavisualization." Supposedly, it's how we manage the "dark side" of the wealth of data we can now process with technology—"information overload." For this assignment, you'll create a data visualization of your own, mining a data set of your choosing.
First, choose a dataset. This can be a literary/informational textual, image set, or any other collection of information that exists as an "information entit," but it should be of substantial size.
Then come up with a query of your set that can be carried out manually or with computer aid, and would result in 25 - 50 returns. Then design at least 3 secondary queries that you can use to parse those results.
Some examples:
Dataset: Facebook Friends
Query: Who are my "real" friends?
Sub Query 01: Did I know them before college?
Sub Query 02: Would I hang out with them?
Sub Query 03: Would they consider me a "real friend"?
Dataset: My Music Collection
Query: Do I have the entire album or just songs?
Sub Query 01: How did I obtain this music (purchased, gift, pirated)?
Sub Query 02: When is the last time I listened to this?
Sub Query 03: How would I classify the genre?
Bring this all to class, we’ll design a visualization that reflects the answers to this query and subquery.
Once you have your dataset and queries, you'll design a visualization in Illustrator that reveals the results of at least 2 of your subqueries (if not all 3). Your visualization should put the results of the query + sub queries in relation to one another, such that it tells us something about the data. It should be a story told in simple terms, with as little extraneous information as possible—in other words, you want to limit (it's impossible to avoid completely) the potential for inference in the choice of visual representation. You DO want the reader/viewer to infer meaning based on the juxtaposition of data, however. To put it another way, you don't want your reader/viewer to ask: "Why is that line/circle/color there? And why did the artist/designer choose that form?"
One of the first things you'll need to decide before producing your visualization is what form is most appropriate for your data story. Here are some basic choices.
Some suggested steps:
Step 1) Create a spreadsheet (Excel, Numbers, or Google Docs will do). The spreadsheet will allow you to parse the data into basic categories along x/y axes and give you some early indicators of patterns in your query results.
Step 2) What is your story? After analyzing your spreadsheet, make some determinations.
- if comparison over a temporal sequence plays a role, then you might want to consider a linear format with a strong X-axis. Scatterplots, Bar and Line charts all might be well suited to showing changes over time.
- if quantitative comparison plays a strong role (even metaphorical quantities, such as “Bad, Very Bad, Worst”) Then you’ll need to get the viewer to feel that change through relative spaces. Tree maps can work well for this, as can most anything with circles.
- Prioritize your stories: If you’re shooting to show all three sets of data, decide which two are most interesting in comparison, and which one might work well as a separate layer. That’s how Scatter Plots can work, for example – the X and Y axis get compared to one another through each dot’s plot on the map, while the size or color of the dot gets read first as its own layer.
- Any given chart can be altered through removing an axis or taking one away.
Step 3) Sketch out some visualizations by hand.
Step 4) When you’re ready with a design, start an Illustrator file by establishing a scale for yourself (e.g. 1 inch = 10x more of something). Then determine the exact measurements, color and location for each item in your database before creating it in Illustrator.
FINAL: 1 poster printed at 11x17
Samples rules:
+http://streamsofmercy.blogspot.com/2008/06/mother-teresas-rules-to-live-by.html
+http://starwars.wikia.com/wiki/Jedi_Code
+http://www.cddc.vt.edu/bps/CF/graffiti.htm
+http://lawsofsimplicity.com/category/laws?order=ASC
+http://www.craigslist.org/about/best/aaa/116389566.html
+http://www.history.org/almanack/life/manners/rules2.cfm
+http://www.freewebs.com/hitchhikers_guide/life.htm
+http://www.earthstar.co.uk/cricket.htm
Sample site:
+New York Times Infographics
Project 3: Instructional Communication
Instructional graphics attempt to distill visual communication to its smoothest, clearest form. Whenever possible, they avoid symbolic or indexical forms of representation, aiming for iconic imagery in the plainest sense – everything in a instructional graphic must not only look like the essence of the thing it represents, it must look like ALL instances of that thing.
Step 1) Exploration: Become an expert on locating 1 of these 4 locations. 1) Room 331 in the Armory 2) Racquetball courts in the Arc, 3) Room 418 Maps and Geography Main Library, 4) Room 309 Temple Hoyne Bull Hall.
Step 2) Create an instructional pamphlet on how to find this location starting at Art and Design.
Step 3) Print this pamphlet and have ready to present for critic
Part 2 Create an instructional sign to place temporarily in Champaign/Urbana. The sign should invoke an audience to think about how they interpret signs. It can raise social, economic, political, or physiological issues.
Step 1) Answer these question and post to archive process page.
-Who ideally should view or interact with this sign?
-What my intentions for creating this sign?
-What material should this sign be make of?
Step 2) Create 10 sketches of possible signs.
Step 3) Schedule and appointment with a 3D output lab if necessary for your project as early as possible. Create a vector map.
Step 4) Document the process of installing your sign and its interaction with the environment (people who encounter it ). Monday we will visit your installation and view the documentation.
+Teching (sam) Hsieh+Minerva Cuevas
Design + Language
+ Gerd Arntz's isotype designs
+ Timo Arnall's Graphic Language for Touch
Communicating with Non-Humans
+ Lisa Jevbratt's course on interspecies collaboration
+ Natalie Jeremijenko's OOZ
Interventions Into Graphic Languages
+ Motomichi Nakamura's animations
+ Ryan McGinness
+ Matt Mullican's World
Steps 1-2: 1 week
Part 2 Steps 1-2 1 week
Project 2: Memory Montage
This assignment is designed to explore memory and its signification in culture on a micro and macro level. The first part of this assignment will be to investigate our memories and create a digital montage that tells the story. The second part will be to investigate cultural memories and develop monumental proposals with illustrations and graphics.
Step 1) Collect 6 -15 images to tell a story of a memory that you feel would be significant to pass on to your kin.
Step 2) Create one montages using the images you have collected. Consider your composition, color pallet (warm v. cold), and resolution, semiotics and form.
Step 3) Print on 8"X11" photo paper
Part 2
The second half of this assignment encourages students to think about how memories are perceived in culture and why do we create monuments. Students will work in groups of two to construct a poster monument through the same process that artist develop physical monuments, that speak to an important historical moment in their lives.
Step 1) Research the process in constructing a monument. Post your findings on your site.
Here is a starting point - +9/11 Memorial
Step 2) Work with a partner to think of historical monument the two of you would like to highlight. Create a digital montage using scanned images or materials to construct a poster monument. this poster should be printed on 14"X18" Good quality paper.
+ Josiah McElheny
+Mike Kelly
+Susan Rothenberg
+Hiroshi Sugimoto
+Maya Linn
+Lauri Simmons
+Jenny Hyde
+ Carole Conde & Karl Beveridge
+ Kenneth Kin-Tin Hung
+ Cliff Evans
+ John Heartfield
+ Hanna Hoch
+ Nicolas Lampert
+ Robert Rauschenberg
TIMELINE
Steps 1-2: 1 week
Part 2 Steps 1-2 1 week
Project 1: Semiotics of the Self
This assignment will take 'the self' as the starting point for learning and employing semiotics as a methodology. Through a few steps, each student will produce a body of research that provides the foundation for the production of photographic image.
STEP 1) Identify 10 traits/characteristics that define your self-image. These can be broad concepts or more specific, but should speak to qualities, not actions/experiences.
STEP 2) Ask a close friend or relative (someone who has known you longer than you've been a student at UIUC) to identify 10 traits that they think defines you. Again, these should be qualities. No explanation is needed.
STEP 3) Produce an archive of found 'images' * (i.e. not pictures produced by yourself) that you associate with these traits. PICK 5 TRAITS from your list and 5 provided by your friend/relative, 10 total. You should have a minimum of 3 images per trait. Organize these well, whether paper or digital.
* images here can mean photographs, hand-produced pictures, literary passages - anything with a material, visual existence. Be varied in your sourcing - avoid simple web image searches for everything. NOTES ON SOURCING IMAGES
STEP 4) Narrative self-portrait: Produce a photographic tableau that represents yourself as might be interpreted from your selected traits and archival research. All 10 traits should be represented in the image somehow, but consider how you might reveal different degrees of importance—create a purposeful hierarchy of characteristics. Everything from the overall composition to your surroundings to the selection of props and other people should be considered, along with things like lighting. AND, OF COURSE, YOUR BODY MUST BE PRESENT IN THE PICTURE.
4A) Produce a paper sketch of your composition. You must have at least 1 references for your composition. Your references can be drawn from art history, commercial photography, cinema, and/or other categories of visual culture, but the purpose is to locate and analyze images that do something like what you want to do with your image (color, composition, mood, etc).
4B) Stage your composition in-camera, i.e. not digitally composited (beyond color correction). This means you might need some help, so find a partner to work with.
Also make sure to take the photo in as high a resolution as your camera allows.
This is not a course in photography best-practices, so I'm not expecting expert levels of technical proficiency. Your primary concern should be the pictorial composition as it relates to the assignment.
FINAL: PRINT THESE 8"x10" (at 300ppi) in color.
TIMELINE
Steps 1-3: 1 week
Step 4: 1/2 week
SEE:
+ Cindy Sherman
+ Jeff Wall
+ Gregory Crewdson
+ Carole Conde & Karl Beveridge
+ Charlie White
We have been exploring various methods of making up until this point. Take some time to reflect on the process and artworks you found most compelling in this class. Complete this proposal and strategically develop a well crafted, engaging work of art. Keep in mind that you will until December 9th to complete this project.
+Proposal are due Nov. 18
PROJECT 7: Appropriation of Process
Appropriation of images is common throughout art history and culture. This project moves a step further into the appropriation of process as a means to move away from the comfort of our processes and explore other modes of making.
Step 1: Chose and artist works you find unappealing. Analyze the artist process of developing artwork through researching their websites and other sources.
Step 2: Appropriate the artist process of making works to create a set of 4-7 artworks.
Step 3: Put together a powerpoint that maps out the process of the artist you have choosen as well as your images. (Do not include any images of the artist art in the presentation, however you may use diagrams and sketches to help illustrate their process)
+Be ready to present your powerpoint presentation Nov. !8
Artist Sites
Eric Fensler | immo klink | Bruno Latour | Beatriz da Costa | Ricardo Miranda Zuñiga |Prema Murthy | Oliver Ressler | Kieth + Mendi Obadike | Olia Lialina | De Geuzen | Josh On | Young-Hae Chang Heavy Industries | Ricardo Dominguez | Alexei Shulgin | Trebor Sholtz | Coco Fusco | Guillermo Gómez-Peña | Steven Greenwood | Patrick Lichty | Komar & Melamid | Natalie Jeremijenko | Faith Wilding | Martha Rosler | Ricardo Dominguez |Adrian Piper | Krzysztof Wodiczko | Joachim Blank & Karl Heinz Jeron | Ricardo Iglesias García | Heath Bunting | Páll Thayer | Andy Deck | Ivan Pope | Packard Jennings | Joey Skaggs | Rev. Billy | waxweb | yugop | Simon Biggs | World of Awe | planktonart | They Rule | Eric Loyer | Webyarns | Hotel | Gods of Chinatown
+Artnow online
+Art 21 interviews
Timeline:
Steps 1-3: - 1 week
PROJECT 6: Imagined Alternative Images in Time and Space
This project requires you to explore image making in relation to time and space. You will develop a manifestation of an ideal imagined alternative through these images in relation to time and space.
Step I)
a) Create an image or group of images that address how you view the movement time without using traditional forms of iconography (for example a clock).
b) Create an image or group of images of your ideal imagined alternative space. Use this framework of questions to help define your ideas for this space.
Step 2) Combine your perceptions of an imagined alternative space and time to create a single large print. This print may include text in relation to your imaganigend alternative. Also consider the various methods of image making we have previously used in class.
+ The Museum of Jurassic Technology
+Tolkien Museum
+Halo Museum of Humanity
+Funk Praire Home and Gem Museum
+ Writing another Future
+Hokes Archive
+Fictive Art
Timeline:
step 1- 1 week
step 2- half a week
PROJECT 5: Interpretations of culture through sequence
This assignment is based on the creation of a series of images designed to be experienced in succession. The starting point is to be a topic you know nothing about but have a small interest in. For example: exploring your heritage, developing an understanding of another culture of someone you know.
Step 1) Research your topic using a minimum of five sources.
Step 2) Write a narrative script that describes your topic( 2 pages).
+Guillermo Gomez Pena
Step 3) Lay out a simple storyboard. Your solution can be one of the following forms: a slide lecture (yes you and a powerpoint, or somethign similar), video, printed comic/book. If you're really ambitious, you can utilize a combination of all three.
Step 4) Make it.
Requirements: It has to be one of the 3 forms given above.
Timeline:
steps 1 to 3 - 1 week
step 4 - 1 week
+Freeze motion film by Garden Hills Elementary
+Comic Revolution
+Elizabeth Lapensee
PROJECT 4: Imaging Data
We have probably all become familiar and accustomed to seeing information presented in the various forms and levels of abstraction that are now commonly referred to as "infographics" or "datavisualization." Supposedly, it's how we manage the "dark side" of the wealth of data we can now process with technology—"information overload." For this assignment, you'll create a data visualization of your own, mining a data set of your choosing.
First, choose a dataset. This can be a literary/informational textual, image set, or any other collection of information that exists as an "information entit," but it should be of substantial size.
Then come up with a query of your set that can be carried out manually or with computer aid, and would result in 25 - 50 returns. Then design at least 3 secondary queries that you can use to parse those results.
Some examples:
Dataset: Facebook Friends
Query: Who are my "real" friends?
Sub Query 01: Did I know them before college?
Sub Query 02: Would I hang out with them?
Sub Query 03: Would they consider me a "real friend"?
Dataset: My Music Collection
Query: Do I have the entire album or just songs?
Sub Query 01: How did I obtain this music (purchased, gift, pirated)?
Sub Query 02: When is the last time I listened to this?
Sub Query 03: How would I classify the genre?
Bring this all to class, we’ll design a visualization that reflects the answers to this query and subquery.
Once you have your dataset and queries, you'll design a visualization in Illustrator that reveals the results of at least 2 of your subqueries (if not all 3). Your visualization should put the results of the query + sub queries in relation to one another, such that it tells us something about the data. It should be a story told in simple terms, with as little extraneous information as possible—in other words, you want to limit (it's impossible to avoid completely) the potential for inference in the choice of visual representation. You DO want the reader/viewer to infer meaning based on the juxtaposition of data, however. To put it another way, you don't want your reader/viewer to ask: "Why is that line/circle/color there? And why did the artist/designer choose that form?"
One of the first things you'll need to decide before producing your visualization is what form is most appropriate for your data story. Here are some basic choices.
Some suggested steps:
Step 1) Create a spreadsheet (Excel, Numbers, or Google Docs will do). The spreadsheet will allow you to parse the data into basic categories along x/y axes and give you some early indicators of patterns in your query results.
Step 2) What is your story? After analyzing your spreadsheet, make some determinations.
- if comparison over a temporal sequence plays a role, then you might want to consider a linear format with a strong X-axis. Scatterplots, Bar and Line charts all might be well suited to showing changes over time.
- if quantitative comparison plays a strong role (even metaphorical quantities, such as “Bad, Very Bad, Worst”) Then you’ll need to get the viewer to feel that change through relative spaces. Tree maps can work well for this, as can most anything with circles.
- Prioritize your stories: If you’re shooting to show all three sets of data, decide which two are most interesting in comparison, and which one might work well as a separate layer. That’s how Scatter Plots can work, for example – the X and Y axis get compared to one another through each dot’s plot on the map, while the size or color of the dot gets read first as its own layer.
- Any given chart can be altered through removing an axis or taking one away.
Step 3) Sketch out some visualizations by hand.
Step 4) When you’re ready with a design, start an Illustrator file by establishing a scale for yourself (e.g. 1 inch = 10x more of something). Then determine the exact measurements, color and location for each item in your database before creating it in Illustrator.
FINAL: 1 poster printed at 11x17
Samples rules:
+http://streamsofmercy.blogspot.com/2008/06/mother-teresas-rules-to-live-by.html
+http://starwars.wikia.com/wiki/Jedi_Code
+http://www.cddc.vt.edu/bps/CF/graffiti.htm
+http://lawsofsimplicity.com/category/laws?order=ASC
+http://www.craigslist.org/about/best/aaa/116389566.html
+http://www.history.org/almanack/life/manners/rules2.cfm
+http://www.freewebs.com/hitchhikers_guide/life.htm
+http://www.earthstar.co.uk/cricket.htm
Sample site:
+New York Times Infographics
Project 3: Instructional Communication
Instructional graphics attempt to distill visual communication to its smoothest, clearest form. Whenever possible, they avoid symbolic or indexical forms of representation, aiming for iconic imagery in the plainest sense – everything in a instructional graphic must not only look like the essence of the thing it represents, it must look like ALL instances of that thing.
Step 1) Exploration: Become an expert on locating 1 of these 4 locations. 1) Room 331 in the Armory 2) Racquetball courts in the Arc, 3) Room 418 Maps and Geography Main Library, 4) Room 309 Temple Hoyne Bull Hall.
Step 2) Create an instructional pamphlet on how to find this location starting at Art and Design.
Step 3) Print this pamphlet and have ready to present for critic
Part 2 Create an instructional sign to place temporarily in Champaign/Urbana. The sign should invoke an audience to think about how they interpret signs. It can raise social, economic, political, or physiological issues.
Step 1) Answer these question and post to archive process page.
-Who ideally should view or interact with this sign?
-What my intentions for creating this sign?
-What material should this sign be make of?
Step 2) Create 10 sketches of possible signs.
Step 3) Schedule and appointment with a 3D output lab if necessary for your project as early as possible. Create a vector map.
Step 4) Document the process of installing your sign and its interaction with the environment (people who encounter it ). Monday we will visit your installation and view the documentation.
+Teching (sam) Hsieh+Minerva Cuevas
Design + Language
+ Gerd Arntz's isotype designs
+ Timo Arnall's Graphic Language for Touch
Communicating with Non-Humans
+ Lisa Jevbratt's course on interspecies collaboration
+ Natalie Jeremijenko's OOZ
Interventions Into Graphic Languages
+ Motomichi Nakamura's animations
+ Ryan McGinness
+ Matt Mullican's World
Steps 1-2: 1 week
Part 2 Steps 1-2 1 week
Project 2: Memory Montage
This assignment is designed to explore memory and its signification in culture on a micro and macro level. The first part of this assignment will be to investigate our memories and create a digital montage that tells the story. The second part will be to investigate cultural memories and develop monumental proposals with illustrations and graphics.
Step 1) Collect 6 -15 images to tell a story of a memory that you feel would be significant to pass on to your kin.
Step 2) Create one montages using the images you have collected. Consider your composition, color pallet (warm v. cold), and resolution, semiotics and form.
Step 3) Print on 8"X11" photo paper
Part 2
The second half of this assignment encourages students to think about how memories are perceived in culture and why do we create monuments. Students will work in groups of two to construct a poster monument through the same process that artist develop physical monuments, that speak to an important historical moment in their lives.
Step 1) Research the process in constructing a monument. Post your findings on your site.
Here is a starting point - +9/11 Memorial
Step 2) Work with a partner to think of historical monument the two of you would like to highlight. Create a digital montage using scanned images or materials to construct a poster monument. this poster should be printed on 14"X18" Good quality paper.
+ Josiah McElheny
+Mike Kelly
+Susan Rothenberg
+Hiroshi Sugimoto
+Maya Linn
+Lauri Simmons
+Jenny Hyde
+ Carole Conde & Karl Beveridge
+ Kenneth Kin-Tin Hung
+ Cliff Evans
+ John Heartfield
+ Hanna Hoch
+ Nicolas Lampert
+ Robert Rauschenberg
TIMELINE
Steps 1-2: 1 week
Part 2 Steps 1-2 1 week
Project 1: Semiotics of the Self
This assignment will take 'the self' as the starting point for learning and employing semiotics as a methodology. Through a few steps, each student will produce a body of research that provides the foundation for the production of photographic image.
STEP 1) Identify 10 traits/characteristics that define your self-image. These can be broad concepts or more specific, but should speak to qualities, not actions/experiences.
STEP 2) Ask a close friend or relative (someone who has known you longer than you've been a student at UIUC) to identify 10 traits that they think defines you. Again, these should be qualities. No explanation is needed.
STEP 3) Produce an archive of found 'images' * (i.e. not pictures produced by yourself) that you associate with these traits. PICK 5 TRAITS from your list and 5 provided by your friend/relative, 10 total. You should have a minimum of 3 images per trait. Organize these well, whether paper or digital.
* images here can mean photographs, hand-produced pictures, literary passages - anything with a material, visual existence. Be varied in your sourcing - avoid simple web image searches for everything. NOTES ON SOURCING IMAGES
STEP 4) Narrative self-portrait: Produce a photographic tableau that represents yourself as might be interpreted from your selected traits and archival research. All 10 traits should be represented in the image somehow, but consider how you might reveal different degrees of importance—create a purposeful hierarchy of characteristics. Everything from the overall composition to your surroundings to the selection of props and other people should be considered, along with things like lighting. AND, OF COURSE, YOUR BODY MUST BE PRESENT IN THE PICTURE.
4A) Produce a paper sketch of your composition. You must have at least 1 references for your composition. Your references can be drawn from art history, commercial photography, cinema, and/or other categories of visual culture, but the purpose is to locate and analyze images that do something like what you want to do with your image (color, composition, mood, etc).
4B) Stage your composition in-camera, i.e. not digitally composited (beyond color correction). This means you might need some help, so find a partner to work with.
Also make sure to take the photo in as high a resolution as your camera allows.
This is not a course in photography best-practices, so I'm not expecting expert levels of technical proficiency. Your primary concern should be the pictorial composition as it relates to the assignment.
FINAL: PRINT THESE 8"x10" (at 300ppi) in color.
TIMELINE
Steps 1-3: 1 week
Step 4: 1/2 week
SEE:
+ Cindy Sherman
+ Jeff Wall
+ Gregory Crewdson
+ Carole Conde & Karl Beveridge
+ Charlie White