In this lecture, we explore basic audio editing techniques using Audacity and Garageband. Both are free software, although Garageband is only available for Mac.

Audacity is more basic than Garageband. Garageband also allows you to compose music, using built-in software instruments. Depending on your project, you may need nothing more than Audacity, however, the more you are mixing music into your recording, the more you are likely to need Garageband. There is lots of audio editing software, but these two alone are quite powerful.

Audacity

Download here. The first tutorial below pre-supposes that you wish to record directly into Audacity. You will not get the best quality recording if you record your voice directly into the computer. At the very least, you will get the hum of the computer. A better-quality recording can be achieved using something like a xoom handheld recorder, or indeed, even recording into your mobile phone. Try to find a small fully enclosed room, away from traffic noise, voices, etc. Then upload that to your computer and open it in audacity.

More tutorials are available on Youtube.

Garageband

The first two of these tutes are very heavy on learning the software. The last one is a quick n’ dirty guide to making a ‘song’ – a pretty unoriginal song, but nevertheless … I hear these loops often enough on the ABC.

More tutorials are available on Youtube.

[post written for CMWP, a course at RMIT University]

 

While you can watch these lectures in any order, some will be suggested to you in specific tasks in the Mip and Mop storyworld, and they are suggested in an order that is likely to work out the best.

These lectures are all online.

1. Digital image editing

2. Digital drawing techniques

3. Basic audio editing

4. Download: the true story of the internetEpisode 2: Search

My reaction to Search.

5. Interactive Design

6. Changing the world, changing you

Here are the lecture notes from our guest lecture, Michael Dunbar:

Designing for experience

Finally, my lecture notes delivered during the face to face intensive:

 

In this interview with Jonathon Roper, we discuss how to think about designing experience, and the networked work practices that John employs.

Design is not about making something pretty, its about organising information to maximise your audience’s ability to get the message. The more choices we have about how to make and consume media we have, the more media design becomes an important issue. Content is the starting point, but you can’t really develop content without considering how people will interact with it.

Connecting is a short film that explores trends in UI, Interaction, & Experience Design (sorry I can’t embed).

More tips

Seeing is believing

10 good interface design examples

Foundation of good user interface design by Sacha Greif

How to create user-friendly web contentby Jonathon Roper

[post written for CMWP, a course at RMIT University]

 

According to Daniel Amen, you can change your brain, and therefore your life. It’s hard work, but the pay-off might be worth it. The following collection of videos are a mixture of inspiration and advice. Hopefully you’ll find something worthwhile among them.

Clay Shirky: How social media can make history

Where good ideas come from by Steve Johnson:

Taking imagination seriously by Janet Echelman

Michael Anti: Behind the Great Firewall of China:

John Cleese on creativity:

The beauty of data visualizationby David McCandless

Freedom to Create by Guy Sorman (text and image)

How to be creative by Hugh McLeod (pdf download)

How to lead a creative life (infographic)

2012/10 Simon Collison (Benefit CreativeMornings):

My reaction

[Post written for CMWP, a course at RMIT University]

 

Screen Shot 2013-01-15 at 11.41.22 AMImage shows a problem to beware of in Gimp: a dialogue box is hidden behind the toolbox.

This lecture introduces image editing software. It assumes you already have an image – either a digital photo or a digital drawing. You may wish to do the digital drawing techniques lecture first. It would be best to be playing with a pre-existing image while you work through this lecture.

I will be introducing various principles for editing digital images. Good image editing software will allow you to do these (and much more). I will refer to Photoshop, the industry standard, and GIMP, which is a free download. There are many resources available and I’m not going to reinvent what already exists. This lecture will present basic image editing principles in an appropriate order. The software does much much more than this – if you’re into it, you’ll explore further on your own. There are often quick keys associated with these processes, which will speed up your workflow.

1. Open and Save/Export

You need to open your image in the software and save/export it. You may be able to drag the file icon onto the software icon to open it. Otherwise, go file (top left hand menu) – open – then navigate to your image. If you want to create a file, go file – new – then determine the dimensions etc in the resulting dialogue box.

Note: In GIMP, there is often an extra dialogue box that you have to go through when you are doing something. This often hides behind the toolbox (yes, its a design flaw, but GIMP is amazing and free! I’m not complaining!). If nothing is happening, hunt around for this dialogue box.

Saving is more complex. There are many different image file types, some appropriate for web (jpeg, png and gif) and others appropriate for higher quality print (TIFF, eps). You can also save as a pdf – the digital publishing standard run by Adobe. This is for stand-alone digital files (ie, not viewed via a browser or other software). Make sure you are choosing the right file type for its final destination. For Web and other digital contexts, you would usually save a photograph as a JPEG, because it compresses the image while maintaining the image quality quite well. A gif file will have a certain (somewhat outre) appearance without as much detail. Possible for cartoons etc, but even then, a jpeg is more likely unless you want that retro look. A PNG file may be a good alternative to a jpeg.

To save/export:

In GIMP, go file – export – then select file type at the bottom of the screen.

In Photoshop, go file – save as – then select file type. There is also a ‘save for web’ option which is great if you want to fiddle with the options and get immediate feedback on the effects.

Tip: make sure your image is the correct dimension (ie pixel/millimetre size) for its final destination before saving/exporting (see resizing).

2. Resize and crop

Resizing refers to changing the pixel or mm dimensions of the image. Cropping means removing one or more sides of the existing image to re-position some part of the image that you like. These are very different activities, and sometimes you may need to do both. However, make sure you keep your original intact. Always work on a copy, not the original.

To resize:

In GIMP, go image (top menu) – scale.

In Photoshop, go image (top menu) – image size – then make you adjustments.

Note: Resizing an existing image may not work too well if the original is of low resolution.

To crop:

In GIMP, find the toolbox tool (it looks like a scalpel) and select the area, then return.

In Photoshop, find the angular tool in the toolbar (fifth from the top). Draw a square representing the area you want to keep. Hit ‘return’.

3. Layers

Any action which edits the actual image requires you to work with layers. If you don’t work with layers and do something you later want to undo, you may not be able to undo. Each layer should contain one aspect of an image – for example, one text, one photograph, or one drawing. Make copies of important layers, then hide them, in case you need them later. Experiments should be carried out in layers, so you can trash the layer if you don’t like the experiment, but you don’t lose the rest of your work.

To show layers:

Both Photoshop and GIMP have a new window for layers. If they are not obvious, In GIMP go to the top menu ‘Window’ – ‘dockable dialogues’ – layers’. In Photoshop, go to the top menu ‘Window’ – ‘layers’.

Once you have the layers window showing, you need to learn how to create and trash (bottom of layer window for GIMP and Photoshop, the bin icon) layers. Note there are different sorts of layers for different types of actions.

To create a layer

In GIMP, Layers window top arrow – layers menu – new layer. This generates new (sometimes hidden) dialogue box that you need to agree to. Usually you’ll want a transparent layer.

In Photoshop, Layers window top arrow – new layer.

4. Altering the colour range in an image

You may need to do this to make the image blend better with a pre-existing colour scheme, or you want to digitally improve the brightness, etc. There are a variety of tools, and no matter how you good you get at it, experimentation is always necessary.

Altering the colour range:

In GIMP, go to the top ‘Colors’ menu, then you need to play with the first 7 of the options.

In Photoshop, go Image (top menu) – Adjustments – then you need to play with the first 8 functions in that drop down menu.

Tip: You’ll find that many of them won’t have any impact on a black and white image (or they’ll be unavailable).

5. Adding effects

Referred to as filters in both Photoshop and GIMP. They can be over-used, and if you have a series of images, it is important to write down what effects, and what order, you are using them in, so you can re-create them. (Advanced users can set up rules). A commonly used and very valuable effect is blur.

To add an effect:

In GIMP and Photoshop, go to the ‘Filters’ top menu then (for example) blur – Gaussian Blur.

6. Tools

Gimp and Photoshop offer a variety of tools in the toolbox window (some of them have already been mentioned). these are bit of programming which require you to use your mouse/trackpad. I mention only the most commonly used ones.

Drawing/painting

You may need to draw on an existing image (eg, to touch up a bit that you don’t like). Remember to do anything like this on a different layer so you can get rid of it. To draw, you will need to know how to select a colour. You will probably also need to zoom (in Gimp, toolbox magnifying glass; in Photoshop, lower left corner – change the percentage) in on the image (possibly until you can see individual pixels).

In GIMP, pencil and paintbrush in the toolbox. Alter the color in the box colour box under the tools.

In Photoshop, pencil and paintbrush in the toolbox.

Erasing

In GIMP, the pink eraser tool in the toolbox.

In Photoshop, the rectangular eraser tool in the toolbox.

selecting an area

Important if you want to do something to a specific part of an image but not all of it. Make sure you are working on the correct layer. In the toolbox, you have a choice of a rectangle, a lassoo, or an elipse.

In GIMP, toolbox – first three tools.

In Photoshop, toolbox – first two tools (clicking and holding the tool gives you more options).

writing text

In GIMP, the ‘A’ tool in the toolbox.

In Photoshop, the ‘T’ tool in the toolbox.

drawing lines

In GIMP, use the shift key and the pencil (among others)

In Photoshop, the line tool in the toolbox (near the T)

Learning more

Look on Youtube for tutorials. There are also lots of books. Make sure whatever you use, it is referring to the correct version of the software.

Further resources for Photoshop

I tend to rely on the Photoshop help menu.


Photoshop tutorials

Further resources for GIMP

Text effects

There are lots of online video tutorials for learning Gimp.

There are many video tutorials for Photoshop on Lynda.com (and a couple for Gimp). To access Lynda.com as an RMIT student for free, go to the RMIT library website and chose the databases tab. Choose Lynda.com in the database titles menu, then ‘go’. You need to create a different Lynda password.

I heart Gimp!

[Written for Contemporary Media Work Practices, a course at RMIT University]

 


PressPausePlay (free bittorrent download) is a documentary about freedom and digital creativity. Most of the examples are from the music ‘industry’. Rahrahs from the likes of Seth Godin are balanced by the dour warnings of Andrew Keen.

This doco contains the bones of the controversy over UGC, whose major critic is Andrew Keen:

When you fall into the trap of confusing the artist and the audience, when you believe that the audience knows more than the artist, is more authoritative, is more creative, is more talented, then art ends. Then you have something else, you have cacophany, you have simply an apology for radical democratisation, and it’s wrong to confuse democratisation in cultural and political terms with the creation of art, which is by definition for better or worse, an elitist business.

I have trouble with the logic of Keen’s argument. If the audience thinks they are better than the artist, they surely wouldn’t be there? And anyway, what does he mean by ‘art’? He seems to be referring to types of creative practice that have been validated by ‘experts’, and even if you think that this is what art is, there doesn’t seem to be any way for new artists to become validated. He doesn’t give any room for discovery or development. Intead, he offers a psychologised explanation of the makers of UGC:

In our post-industrial age, because of atomisation, loneliness, because of the brak-up of community, the way to somehow reify or deify ourselves is through the creative act.

Are there no other reasons for creativity than therapy? What about the desire to communicate? An interest in aesthetic and technical experimentation? The transition to ‘serious art’ seems to be entirely magical if it is meant to develop from Keen’s idea of non-successful art.

Raw popularity – ‘number of clicks’ – is not the criteria for art, in Keen’s opinion, presumably because we are meant to let experts judge art and we are meant to follow that judgement? Keen seems to remove any right of individuals to form their own critical opinion. Once again, this leads us into a cul-de-sac in which aesthetic criteria can never develop, and art is reified into heritage forms forever.

The other thing that Keen doesn’t appear to understand is how we find things on the web – through use of our networks, metadata and referrer systems, and private networked which Alexis Madrigal calls the dark social.

However, the note of foreboding Keen sounds when he declares us to be ‘on the verge of a new dark age’ can not altogether be ignored. Moby, for example ponders whether ‘people might start to become comfortable with mediocrity’. The digital revolution has:

…separated, to an extent, knowledge of cract and creativity, it’s like to be a good photography you had to know how to develop your own film, to print your own film, and you had to understand the way the camera worked and now that doesn’t matter.

Someone else (apologies, I missed the name) comments ‘The craft is no longer necessary. The craft of writing or the craft of making art or the craft of the musician is gone’ because everything can all be fixed in post. The price is that any idiosyncracy in performance can be removed and what remains is sterile precision.

Moby concludes:

I get intimidated and bored by perfect digital art.

Another sort of critique about contemporary music culture is that digitality and sharability of music has made it ubiquitous, we don’t concentrate on it so much, it’s just ‘the noise of our lives’. But whatever is happening, it sure is interesting. This digital moment is analogous to the 1920′s, when TV, radio – the heritage media era – was beginning to take off. Nobody knew what would happen, but the results have been playing out over the last eighty years.

As one interviewee says, we’re all operating in the dark. it depends on whether you think this is exciting or devastating.

[This is one of two posts written about PressPausePlay. Here's the other. Still from PressPausePlay.]

 


PressPausePlay (free legal bittorrent download) is an uplifting and informative documentary about freedom and digital creativity. Most of the examples are from the music ‘industry’. Rahrahs from the likes of Seth Godin are balanced by the dour tones of Andrew Keen.

Is the status of creativity and creatives changing? In this wide-ranging documentary, we are asked to reflect upon the creatives ‘industries’, and consider whether changing production methods means that we are entering a post-industrial creative era. Some love it, some hate it, and some, most interestingly, are equivocal. Among the more or less fully converted is Seth Godin:

It used to be you didn’t become an artist to be rich, you became an artist because you had an idea to share, you had an emotion to share, and that’s where we’re heading again, and we’re going to see more people do more art in more ways than ever before.

Yes, but how? And what are the financial practicalities? And is it really ‘art’? In an environment in which ‘Any kid can use a cracked version or buy a version of Reason or Logic or Ableton and in about five minutes do what took 6 months or years 20 years ago’, Moby wonders:

Everybody’s equally excited and afraid, noone really knows where their next paycheck is coming from, but they’re really excited at their ability to create work and communicate directly with an audience.

These people are technological determinists. Bill Drummond says: ‘The technology always comes first. Then the artist comes along (Jimi Hendrix) … And abuses it and changes it …. So in that sense technology is great. I’m not so sure it’s as simple as that, for in the use and abuse the technology gets changed, but anyway, that’s perhaps not the most important issue. Rather, it’s what digital does to the very concept of art and media. According to David Weinberger:

In the creative world, it used to be that we knew where to go to get art, where to get entertainment, and they were in boxes, sometimes the boxes were Tv boxes, sometimes they were building boxes or the front page of newspaper which is a nice little box. That’s fantastic but of course there’s a price to pay to that old way as well, which is that somebody else is making your decisions and they are also human beings, its’s a very limited necessarily range of tastes and opinions and ideas and traditionally unfortunately fairly typically its been representative of particular empowered groups… Typically white guys …

I’m not sure art is a good term to use with digital products. It seems to me tied to a means of production and a historical production period in which reproducability was difficult if not impossible. So when Seth Godin says something like:

Art has been round for a really long time, but its only in the last fifty years that there’s been an industry, eg the music indusy, the movie industry. That’s new.

I just wish he’d use a less loaded phrase, such as ‘creative products’. It would avoid a whole lot of problems. That aside, I love the way several interviewees historically contextualise our creative period.

PressPausePlay also interviews the founders of production company Shilo, Andre Stringer and Tracy Chandler:

Andre Stringer:

The easiest way to understand Shilo is we’re a traditional production company for the most part, but we’ve come at it from a very untraditional sort of way. The traditional model says, there’s a director, there’s a post house, there’s an editorial company, there’s an advertising agency… And each of them has their own stake in what they’re making and there’s always this fight against it. By…harnessing all those things and saying like nowadays the guys who direct are sometimes the guys who design, the guys who direct are also sometiems the dudes who edit. That blended model really changes the whole landscape and it also sort says that anybody can do anything.

They must have worked out how to deal with egos very well … in industrial media, everyone likes to have their patch of expertese. Or is it more that that’s how we learned to function? It was safe, maybe even easy, maybe even necessary given the gear we had. But it didn’t give you much freedom unless you were at the top of the tree.

Tracy Chandler:

If a designer comes at directing something they might have a different approach than a traditional director might have and so comes out with a different product . It’s not just about whether something is better or worse, its about something can be different because people are coming at it from a different perspective.

Andre:

What having the ability to do more of the work ourselves gives us is the abili to be more free, more visceral, more alchemic with the way that the components come together. A lot less of it has to be extremely pre-planned and mo of it can be entirely improvisational, very much of the moment…Most of it comes out of the grassroots, learn-it-yourself, do-it-yourself mentality

Tracy:

There’s no formal training for what’s going on in the professional world right now.

[This is one of two posts written about PressPausePlay. Here's the other. Still from PressPausePlay.]

 

Pin the tail on the donkey
Decisions, decisions… In the bad old days when we had books, newpapers, journals, tv, radio and film, it was usually a cut-and-dried mazaire in a blindfold about what media went with what medium. But now, OMG, stop giving me choices!

Simon Staffans argues in Reflections on transmedia:

When working with a transmedia project, one of the most important things to learn (and this is something that can only be achieved through making stuff and drawing conclusions) is that it’s immensly important to know how to limit oneself and ones project; there is never time to do everything that would be possible, and if there was, one would most likely be lacking funds or skills instead. The key is to use ones own experience – or someone elses, if ones own doesn’t cut it – to know which parts are actually essential for the project to achieve the desired goal, and which are not.

In that context, one must strive to use the media platforms and the storytelling methods that make sense. Don’t ever go for preferred ways of doing things, just because they are preferred ways. And there is no need to be lured by the latest technology or the newest possibilities; just because you can make an app, for instance, there is nothing that says you should. Again, this is where experience and knowledge – ones own or someone elses – comes into play.

Hmm, we’re going to need some principles.

Principle 1: One trap we fall into – a lazy trap – is depending on what we already know. There are so many ways of producing media, in so many different containers. How do you keep up to date? You need to do this in a general way, then you’ve got a body of background knowledge to call upon when a specific project comes to mind. I use RSS feeds, twitter follows and a recommender system on my iPad. If I’ve got a specific project in mind, I can call upon this pbackground knowledge to determine sepficis.

Principle 2: Allow the publishing medium to influence the work. You need to know how you’re going to publish before you can determine the what. Of course, I’m not tryng to argue that a concept/idea/genre doesn’t come first. It should. I’m just saying at the early stages, keep your options open. Be iterative. Experiment with the software and change your mind in response.

Principle 3: Know your monster, and know its limits. As Staffans says, not knowing them is the easiest way to create a never-ending story (which was meant to have an end). Many of these limits come down to the skils of your team members.

Principle 4: Small but quality is better than large and crap. A judicious use of social media in conjunction with a pviously established social profile will get you an audience, the latter won’t.

Principle 5: Be personally professional. You don’t want to blindly poke a pin into a donkey’s backside. Donkeys can kick ! Deliver what you’ve promised.

[Image by Neil Steack on flickr

 

In the era of user-generated content, what does it mean to be professional? There is so much fantastic UGC, it shouldn’t be about whether you get paid or not. And you can’t rely on the quality of your gear to answer the question, either, as Phil Rhodes argues:

Few people will shoot their childrens’ birthday party with an F65, and it’s unlikely that the next superhero blockbuster will be shot on a Canon 5D. But there’s now a huge middle ground, bigger than ever before, in which it’s not inconceivable that cameras like the C300 might end up on anything from low-budget shorts to much wealthier TV shows, documentaries, corporates, features, wedding videos, or almost any genre you could name.(RedShark)

Here are some first ideas on redefining professionalism:

  • Professionals complete what they have committed to.
  • Professionals maintain a consistent style and quality.
  • Professionals take ownership of their work.
  • Professionals understand the importance of drafting and editing.
  • Professionals are always expanding their horizons.

Portrait by Andy Newman explores what ‘professional’ means in the context of contemporary photography. It’s a beautifully shot traditional little vid doco, but the editing is a little jarring.

Some reflections from Andria Lindquist:

I think one of the things with being creative is just the willingness to try things out, and see what it looks like afterwards….also, go with your gut and be confident about it.

The things that I am most proud of are my drive and my consistency.

Whether you’re doing it with your phone or your doing it with a 3000-dollar camera, it [needs to] change the way you look at things….being a professional photographer happens when its in every aspect of your life. It is the means for your living, not just in a monetary sense, its carried through in every day, and everywhere you go, you’re a photographer and that’s who you are.

Saying what you want is not something that people do, and I fail at it all the time but I try to do it.

You have to protect yourself from being spread too thin because then you don’t have the same drive and passion to go with your full heart on something.

Some reflections from Cory Staudacher:

Anything that I want to put out, I’ve thought about it, I’ve refined it. Like, this is quality enough for me personally that I’m going to share it. People love consistency …

A lot of people stop from starting because of fear of failing.

[Post written for Networked Media and CMWP, courses at RMIT University]

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