Number Countdown

Creating this number countdown familiarized me with some of the preliminary functions of After Effects. I still need to work on animating the objects I include and adding more movement, but for this I just played with some effects.

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Rio Carnival Video


I was prompted to portray a popular event abstractly through video footage. The Carnival in Rio de Janeiro was a challenging, but fun event to decipher and present. I researched and looked at a lot of pictures of the festivities in Rio to get ideas as to how the people celebrate and what it looks like when they do. The Carnival is a stress-relieving event (or collection of events) that is meant to boost the country’s morale and provide citizens with an outlet for fun and indulgence. I made a list of areas I wanted to record at and shot my footage after compiling all of my notes and research. The Carnival is busy and colorful; I tried to convey this in my video through vivid colors and patterns (mandalas, bright reds and yellows, metallic surfaces). Dancing and shows are very popular attractions at the Carnival, so I included a muted flashing light in one of the clips to depict movement and a party-like atmosphere. I used a clip from the beginning of the video again at the end to represent unity within the country and its people.

Although this video is specific to the Brazilian culture, I would like an array of audiences to be able to watch it and feel happiness and a connection with their country and heritage.




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Texture Video

I was presented with an exercise in which I had to convey a typical week in one minute, using only colors or textures. I chose to record things and places of different textures around campus. I recorded an array of surfaces and took more video than I needed so I would be able to pick the most appropriate textures. I imported all the footage I took into Premiere Pro and began to arrange it on the timeline. I organized the videos from dull and uninteresting to natural and eye-catching and clipped them to meet the standards for my composition. I assigned amounts of time to each of the seven days of the week and arranged groups of videos within those timelines. The clips that represent the first couple of days of the week are the slowest and most repetitive, which corresponds to my real life. As the video progresses, less and less time is allotted for each day, making them go by faster. The images are more interesting and repeat less. The viewer experiences the days that would be Saturday and Sunday at a quicker pace than the rest of the week. I also captured more color in my last videos to signify fun, relaxation, and happiness. I then labelled and exported my video and posted it to Vimeo and then my blog.

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Origami Marionette Artist Statement





The structure of my marionette is very vertical which contributes to its flow and rhythm. The parts of the crab shell lead the eye from the top point through the rings to the crab’s head and arms.

My marionette generates childish ideas of playtime and pets and sidekicks. The hermit crab could be roaming the beach or tagging along with its owner.

I chose to manipulate size, shape, and color the most in my marionette to create the illusion of form. I used scale change by making the shell and arms much longer than the head. Primary colors made up my design, because I wanted my audience to imagine their childhood and innocent fun when they interacted with my marionette.

My creative process is loosely structured. I generate multiple ideas then consciously select the ones that I think I can build from most successfully. I try to be aware of the message my work sends and how I can improve upon my work and how I crafted it.

The organic shape of the rings of boxes compliments the geometry of the origami shapes I used to build the marionette. I used solidly colored paper for the majority of the marionette but used patterned paper for interesting and important parts of the crab.

I designed and built a crab marionette by using origami paper to create modules. A module consists of a three-dimensional repetition of similar shapes. I folded origami paper into cubes and triangles and implemented hexagons on the faces of some of the cubes. The simple shapes and primary colors I used in the design give off a childish feel. I did this purposefully. There are imaginary diagonal lines that converge at the point of the shell. Scale change is exemplified between the trapezoidal head and the long legs. Movement is created by loosely sewing the pieces together to allow for freedom between parts. My marionette has a unique form due to the shell of the crab being made out of rings of strung together cubes.

Cubes, hexagons, triangles, and trapezoids were the main shapes I used to create a repetitive modular design. All of the shapes and patterns have potential because they supply movement and modularity to the marionette. The patterns that stand out the most to my eye are the discombobulated rings of cubes with hexagon faces. They successfully contribute to the three-dimensional form.

Using modules allowed me to make a three-dimensional marionette that was more engaging and interactive. It strengthened the form which in turn strengthened its liveliness.

My design is symmetrically balanced due to the arms protruding from each side of the crab and the rising shell. There is rhythm in the repetition of modules and unity in the color and overall geometry of the marionette. Proportion is lacking due to the change of scale between the shell and the crab’s head.

Personal Statement: I am happy with how my marionette turned out especially considering how much I struggled with learning origami. It is fun and free, much like a child’s toy would be.

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Eva Hesse Film Writeup

On Wednesday, February 8, I attended a film about the artist Eva Hesse at Alfred University.

Eva Hesse grew up in Hamburg, Germany with her Jewish parents, and sister during the reign of the Nazi regime. Although her immediate family survived and escaped the area, Eva lost her grandparents, other family members, eventually her depressed mother, and her happiness. She attended therapy, but her real saving grace was her passion for art. Eva and her family moved to America in 1939. When Eva turned 16, she attended Pratt Institute  and dropped out after a semester, because she did not like it. She got a job at Seventeen magazine in which her art was featured and later went to Cooper Union. She loved it from the start. She had always felt different and apart from others, but as long as she was doing her art she was content.

After studying painting at Yale, Eva began to show and sell her work. As she experimented with her style and met different artists, she fell in love with Tom Doyle, a sculptor. They married. When Tom was offered a salary making sculptures in Germany, Eva was hesitant to follow him. Because of her past in Germany, she was frightened of returning to the country. She did decide to accompany Tom, but had nightmares once they arrived. Eva and Tom shared a very large studio, but they found working difficult. Tom was obnoxious and drank too much and he kissed other women at parties. Eva was unhappy with her private life, but she attended museums and kept up with the progression of the art world. She took what she saw and worked on the themes in her own way. Although she was heartbroken, her work flourished. She started using junk from her and Tom’s studio to sculpt and create. Her ideas fluctuated and she was anxious. Eva and her good friend, Sol, exchanged letters in which he encouraged her to “do, do, do” and “relax”. She continued to work her way through her art and tried to ignore whether or not her art was of worth. Risky, radical art came from her exploration. Werner Nekes produced a film about Eva and Tom’s work; it was a big event.

When Eva and Tom returned to the U.S. Eva dabbled in minimalism, but was still outputting erotic work. While her work grew, her relationship with Tom slowly died. They spent less time together; Tom went everywhere without her. Eva eventually kicked Tom out of their apartment to which his response was a request for divorce. Eva was heartbroken. She poured herself into her art.

Eva’s work started being shown in exhibitions (many in the Fishback Gallery of New York City). Her work “Hang Up” was especially audacious and became popular. Her father came to one of her exhibitions, but seemed stern and withdrawn–he did not understand her work. Soon after, he got sick and died in Europe, leaving Eva devastated. She started to work again to find happiness and purpose and shared a close relationship with Sol. She opened the exhibition “Eccentric Abstraction” in New York City. She began to find that women were unfairly recognized in art; galleries were male dominated. She hated to be referred to as a “woman” artist as she thought good art was neither feminine nor masculine.

As Eva delved into sculpting, she started to find interest in odd materials. She went to rubber and plastic shops and metal factories to collect odds and ends for her projects. She enjoyed using industrial materials. In her “Matter Matters” show in 1968, she said she thought some of her pieces looked like machines.

In light of her new independence, Eva cut the majority of her long hair off. Her life was about her now. She attended lectures on the use of polymers and in her famous piece “Repetition 19” she coated deformed cylindrical buckets with fiberglass. Her work “Accretion” made Time Magazine’s art section.

Eva started to get dizzy and have migraines and she experienced excruciating pain. She was brought to the hospital where a large tumor that was infringing on her brain was found. After it was removed, Eva felt great and changed her outlook on life. In her exhibition “A Kind of Choreography”, Eva’s work Untitled rope piece got a lot of attention. It evoked different emotions from different people. This made it versatile and amusing.

Not much later than her first visit to the hospital, Eva was rushed in again for another tumor. Eva’s sister, Helen, decided not to tell Eva that she was sick and going to die, but she knew. Eva was not afraid. She continued to create the piece “Untitled (7 poles)” that her students eventually finished for her while she was sick. When her work “Contingence” was featured on the cover of Art Forum, her sister and friends hung the cover in her room for her to look at.

Eva died on May 29 of 1970 at age 34. Sol was notified via telegram.

40 years after her death, Eva’s work was shown in Hamburg, Germany. An Eva Hesse Memorial Exhibition was created at the Guggenheim Museum in New York City. Many people were amazed and inspired by the vast amount of works and achievements she made in a five year period.

“Life doesn’t last, art doesn’t last. It doesn’t matter.”



Many of the lessons Eva Hesse learned while she was growing as an artist are relevant to the Graphic and Media Design program. She took advantage of the emotions she was feeling to improve upon and develop her art. Therefore, we as students should be able to make more passionate and personal work by using both our positive and negative emotions and experiences as fuel. She tried new things and took risks when she created, like we should while we find our style. She used an array of materials and dabbled in many different styles of painting and sculpting from expressionism to minimalism.

Eva knew and worked with many different artists. They showed each other their work and bounced ideas off of each other. This is a technique I find especially helpful. I ask both my friends in the design program and outside of the art field altogether what they think of my work. I usually get a good amount of feedback. This prepares me for critiques and allows me to tweak things that the majority of the people I ask find problematic. On top of collaborating with her friends, Eva visited museums and galleries and kept up on the ever-changing trends of the art world. She put her own spin on them and continued to make bizarre and ridiculous pieces.Why follow the crowd when there are so many things that have not been created yet?

Eva Hesse was concerned with the now. She didn’t care if  her art would last or if her materials would deteriorate if she could achieve the affect that she wanted right then. The affect in itself could create a lasting impression. This is a lesson concerned with both art and life itself; something Digital Media students should consider when they generate ideas for their art.


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Logo Re-design

Prior to critique:


I decided to improve upon the original logo of Airbnb. Airbnb is an 8-year-old company that allows people worldwide to list or book travel accommodations. Anyone can post an apartment, house, or castle to attract people looking to experience a more connected local experience with unique community opportunities when they travel. In November of 2016, Airbnb launched “Trips”, which includes new services like hosting and activities. Along with this new  addition to their company, I thought a new logo that showcased the company’s many features and new attributes was in store.

airbnb-or-logoI chose to improve upon their logo, not because it is not simple, but because it is not easily recognizable and the company is not well-known enough for people to automatically connect it with the service it represents. Most people would not associate this loop with a travel site or agency. First, I researched the company, its purpose, and its goals. I noted important information and then began to look up more images of the logo (which has been spoofed multiple times) and company name. I began to sketch designs for logos that showed an association with the travel business. Airbnb boasts that they offer accommodations in 34,000 cities and 191 countries and have 2,000,000 listings worldwide. So, hypothetically speaking, you could throw a dart at a map and find a place to stay wherever it landed. This thought process inspired my designs. When I had drawn several design possibilities, I chose the most successful and showed them to my roommate, her friend, and my boyfriend. They all agreed on the same logo as being the most effective.


At this point, I had not chosen the color scheme for my design. I crafted my version of the logo in Adobe Illustrator and played with colors. I got opinions on multiple color combinations. I decided to use colors that were fairly close to each other on the color wheel so the logo would not appear overly intense or imposing. I used limited colors and stuck with two main ones; blue for the globe for the purpose of realism and pink for the text and dart. I tried to implement negative space in the globe to make the design more interesting and appealing. I drew everything using simple shapes except for the continents on the globe. I wanted my design to be versatile and straightforward. I looked at it at different sizes and got more opinions. One that I took into account was criticism on the size of my globe. Originally, it was small and more similar to the size of the letters in Airbnb. I increased the size of the globe to give the logo more contrast. My end result looks like this.


The text in my design can also stand on its own–something I think is a big positive characteristic of my logo. It can be manipulated depending on the need for its use or publication.



The main criticisms of my logo were the colors I chose (mainly the pink of the text), the opposing directions of the text and the tilted globe. I decided to simplify my color pallet by making the text the same color as the axis of the globe. After trying to make the globe lean in the same direction as the text I realized that it did not look right. To counter this I chose a different font for the text that stood more upright than the last. I also incorporated negative space into the dart in addition to the continents on the globe. After getting opinions on the strength of both the new and old versions, I was confident that the new logo I created prevailed over the last.



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