Contemporary Media Work Practices

Basic audio editing

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Feb 022013

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]

Flipped lectures for CMWP

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Jan 152013

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 internet — Episode 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:

experience design

Contemporary Media Work Practices, Contemporary Media Work Practices Comments Off

Jan 152013

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]

Changing the world, changing you

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Jan 122013

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]

digital drawing techniques

Contemporary Media Work Practices, graphic art, resources Comments Off

Jan 102013

This lecture deals with the basics of 2D digital drawing. you may need to use it in conjunction with the image editing lecture.

Bitmap (raster) or vector?

When drawing digitally, your first choice is bitmap (raster) or vector? Vector drawing is clean, precise, and it can look somewhat inhuman (although clever artists can overcome this). Some simple examples. That’s because it is the result of algorithms working out how to join two points together. Bitmap drawing tools replicate the pressure of your mouse, stylus or finger by translating that pressure into a series of tiny dots (pixels). The result can be much more like a hand-drawing – but it can also seem very crude in the hands of an unskilled user. Digital photographs are, ultimately, bitmaps.

The aesthetics of your project should determine your choice (if your drawings are part of an animation, you are likely to be doing vector drawings). One thing to bear in mind is that vector images are more manipulable because they don’t lose quality at different resolution. However, vector drawing is a little less ‘natural’, and you might find the learning curve is steeper.

Some software allows you to do both bitmap and vector illustration. I will refer to Inkscape and Illustrator (vector illustration) and Gimp and Photoshop (bitmap). However, Gimp and Photoshop also have vector drawing capabilities.

Increasingly we will see the use of HTML 5 to create simple vector shapes on websites, however that is beyond the scope of this introduction.

From hand to tool: the cognitive challenge

Particularly for bitmap drawing, how you make the mark on your digital page is important. You could use a mouse or a trackpad, or a stylus or even your finger. Either way, how you make your mark is something you have to learn. Personally, I find drawing with a mouse or a trackpad rather difficult. I need the sensual contact of pressure and motor control. My preferred way is a stylus on my tablet, using drawing software (of which there is a wide, and very cheap, range).

Bitmaps

In Gimp or Photoshop, choose the paintbrush or the pencil from the tools menu. Remember to use layers (see the image editing lecture). Note the options you have to change the style and weight of the brush. I usually find the paintbrush with the soft edge is what I want. I rarely use the pencil.

Another technique I really like is doing a fill (with paintbrush or the spraypaint tool) then selectively erasing. Consider setting up your image in this way:

Do the rough in line art with a thin pencil.
Create a new layer underneath the first layer.
Do 1 colour of fill in the new layer, selectively erasing the fill to have it conform with the outline on your first layer.
Repeat 2 and 3 for the different colours.
Hide the line art.

Vectors

I will introduce a series of principles, with how-to instructions for Inkscape (free downloadable software) and Illustrator (the industry standard).

1. Open a file

In Inkscape, go file (top menu) – open and navigate to the file.

In Illustrator, go file (top menu) – open – then navigate to the file.

2. Create a file

Inkscape will open with a default A4 portrait file. Go file – new to choose other dimensions.

In Illustrator, go file (top menu) – new, then choose dimensions, etc.

3. Layers

It is very important to organise different aspects of your image into layers. Also, when you are experimenting with a part of an image, make a copy of that part so you can go back to the way it was.

In Inkscape, Layers (top menu) – add layer.

In Illustrator, go Window (top menu) – layers to display the layers window. Then click the top right corner of the Layers window to create a new layer.

4. Drawing a line

Drawing a line in Illustrator using the pencil tool

They may look like ordinary lines when you draw them, but they are vectors, as you’ll see when we come to edit them. Unlike a bitmap line, you can resize and distort them very easily (use the arrow tool).

In Inkscape, there are three tools in the lefthand toolbar; their icons are a pencil for freehand lines; a pen for Bezier curves and straightlines, and a fountain pen for calligraphy.

In Illustrator, use the fountain pen tool or the straight line tool in the lefthand side toolbox for straight lines, and the pencil or the paintbrush tool for curved lines.

5. Editing the line

In Inkscape, click on the second tool in the left-hard toolbar (the one with the blue line). It will reveal the nodes in your line. Click on a node and drag it.

Editing a vector image in Inkscape

In Illustrator, hold down the pen tool (the one that looks like a fountain pen) to see a variety of things you can do to edit the anchor points in your image. The anchor points control the line shape, and you need to experiment with them to see what they do.

6. Filling a shape

Filling a vector shape in Inkscape

To fill a shape with a colour, you need to draw a shape which is entirely enclosed – the line must join up. After you have done this:

In Inkscape, highlight the shape using the arrow tool, then click on the colour at the bottom of the window.

In Illustrator, highlight the shape using the arrow tool. While highlighted, choose the colour in the colour chooser (which is near the bottom of the toolbox).

7. Saving / exporting the file

In Inkscape, file – save as – choose file type. If you want to keep the vector information, save the file as Inkscape SVG (it will open in illustrator and Inkscape with all its vectors; it will also open in Gimp, but not with the vector information). If you want to use it in Photoshop, choose eps.

In Illustrator, file – save as (for print, or to save the original) and file – save for Web & devices – then either gif or jpeg or png. If you want a transparent background, the gif is the easiest way to do that.

8. Zoom

In Inkscape, the magnifying glass in the lefthand toolbar.

In Illustrator, the magnifying glass in the lefthand toolbar.

9. Paths

Paths are an important concept in vector drawing. In the following vid, malgalin shows what the term means, and incidentally uses Gimp to create a vector image (some of the details will differ from software to software, for example, how to close the shape. I suggest you choose one software and stick with it).

Some resources

Tracing a photo to create a vector.

Character design

Great techniques and tutorials listed here.

There are many video tutorials for Photoshop and Illustrator on Lynda.com (and a couple for Gimp but none for Inkscape). 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.

More Illustrator exercises

Top 5 alternatives to illustrator

Interesting digital imagery

deep maps

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

image editing software

Contemporary Media Work Practices, Contemporary Media Work Practices 1 Response »

Jan 102013

Image 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]

Constantinople is collapsing

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Dec 022012

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.]

operating in the dark

Contemporary Media Work Practices, Contemporary Media Work Practices, documentary, Reviews, This working life, web Comments Off

Dec 012012

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.]

matching genre to medium

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Nov 212012

Never before has this problematic been one deserving so much attention. In the days of heritage media, it was usually pretty easy to determine how to match the type of story with a medium – standalone ninety-minute narrative to cinematic film; poem to magazine; essay to journal article; long-form textual narrative to printed book. And if you couldn’t match it, you changed your concept or got nowhere.

Nowadays it’s verging on possible to create your medium if it doesn’t already exist – but most likely it does. You’ve just got to think laterally.A good example of the lateral matching of genre with technology is diaristic writing to twitter and blog is Samuel Pepys’ diary in blog and twitter form, ‘translated’ by Phil Gyford.

Which comes first, medium or text? I think we have to co-evolve media and mediums. If we’re lucky, (ie, programmers / have programming friends / are well-heeled) we can write both. But even if not, it’s just a matter of researching the options, with more appearing each day. More and more, creatives involved with digital artefacts have to spend a lot of time on this research.

existing within the story

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Nov 212012

collapsed story Who does what, and what do we call ‘em? From Sara Thacher:

A transmedia producer has a lot in common with the producer on other storytelling projects. They’re the people who translate a creative vision – the script, design document, treatment, etc. – into something actionable. They figure out answers to: “How long will it take?” and “How much will it cost?” and often “Who will do what?” Answering these questions on any project means having a thorough understanding of how the pieces it together – down to the smallest details – while keeping an eye on the big vision.

On the other hand,

An experience designer is also all about the connections. Instead of looking at these connections from a production point of view, the experience designer puts themselves in seat of the audience. You’re considering how the audience moves between different media. What threads need to be built so that the audience that’s following your YouTube channel will also play your SMS text adventure? It’s also the experience designer’s job to think about why the platforms/media/storytelling mediums are being used to convey different parts of the story.

I like her metaphorical definition of transmedia storytelling – It’s

…about giving your audience a way to exist inside the story instead of peering at it through a window

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