by Christoph Stuhlpfarrer -

Sound Design – What Does Magic Sound Like? A Look At How The Harry Potter Films Redefined The Sound Of Magic

Here is an interesting video on the sound design of magic in the Harry Potter series of films.

Before Harry Potter this video suggests that although there were some indications in literature as to what magic might sound like, that until the Harry Potter films came along the medium of film never seen such formalisation of the sound of magic, such a variety of spells cast with specific gestures and feelings. If the film makers didn’t quite know what that should all sound like they definitely knew that they didn’t want it to sound like shooting scenes from science fiction films.

In preparation fro the first Harry Potter film director Chris Columbus told supervising sound editor Eddy Joseph that he didn’t want anything modern, futuristic or electronic. Although the sound of magic did change and develop throughout the series of films, it is said that this was a mantra that the film makers and sound designers continued to hold to.

Instead if the spell that was being cast had a specific sound related to it then they would use that, like water, fire, freezing, etc. Sometimes the sound of what the spell is impacting is all that is needed. When it comes to levitation then silence works just fine. But there are plenty of examples where the magic doesn’t have a specific sound attached and this is where the sound designers get the chance to be creative.

There is no doubt that the sound of magic developed though the Harry Potter films but there was a major change when it came to to the 3rd film, The Prisoner of Azkaban, when out went the explosions and whooshes and in came much softer sounds for most of the spells, which has the effect of making the magic less aggressive and more mysterious and that is the style the team build on for the key patronus spell that is built out a chorus of voices.

Another development we see through the Harry Potter films is that see the spell sounds become more personal and appropriate for each character to give the impression that the spell comes out of the magician just like their breath.

Watch the video and hear and see the examples played out.

by Marie Kunzmann -

0# | Collaborative learning processes

For this blog entry I chose to examine the paper “Collaborative Learning with Interactive Music Systems” from Adnan Marquez-Borbon. It is presented on the website of the International Conference on New Interfaces for Musical Expression (NIME-20). It is a bit off-topic but relevant for the lecture ‘Interaction Design’.

The paper draws a new perspective on how to learn a new instrument – more specifically an interactive digital music system. The designers of those instruments are often the only performers and do not have many copies of their specific instrument. In general they often do not have instructional informations aside from a technical document (if existent) what makes it hard to learn it in a traditional way. The ‘traditional way’ means to first learn the musical notation and then the according application to the instrument. This way means a very linear and structured process of learning. The teacher transmits knowledge, evaluates the technical proficiency, musical accuracy and the appropriateness of style of the student. But this approach ignores the diversity of alternative musical practices and approaches. In an interactive digital music system the musical text and notation are not obligatory central to the practice. It lives from variable and numerous practices and the form of documentation applies to that. The learning process is therefore more complex and probably not tangible with the traditional way to learn an instrument.

The author describes an open-ended, exploratory and collective learning approach to learn a technologically mediated instrument and with that to overcome the traditional way of learning an instrument. The so called ‘socially mediated learning’ process centres collaborative learning and should provide a flexible and adaptable learning environment. This space is unlimited in musical exploration, creativity and bringing in additional musical skills of students. Learning by imitating other learners can lead to the extension of the own capabilities of students. The challenge of collective learning is to keep up the motivation and let the students take responsibilities in their freedom of learning (like setting subjectives). The teacher becomes a guide and is not longer an authority. 

As a method the author developed a new instrument with a 3D printed case, two outward facing speaker, four push buttons controlling pitches organised in a one-octave chromatic scale, two linear soft potentiometer (controlling the pitch & other) and a force-sensing resistor controls the output volume. The volunteers have been three people with traditional music education and extensive performance experience but with no experience in performing with musical technologies or interactive musical systems. They learned to play the instrument in group sessions over a period of six months. 

As a result they actually started to learn from each other, imitated and/or extended each others findings and were learning effectively together. Furthermore they started to make up their own learning structures by noting down individual musical notations as a learning aid. They even started to come up with group exercises and created own compositions in order to rehearse and perform together. The participants developed their own style in playing but also found a way to play together. Even without fixed learning structures they started to self-organise their capacities and activities as well as learning goals which motivated and oriented them. 

Due to the flexible exchange of ideas and techniques the participants found a unified conceptualisation and usage of the instrument. Both, the whole group and the individual learner benefit from the rich learning opportunities in the open and flexible learning structure.

My resume: Personally, I never thought about how we learn to play instruments – even though I myself learned the musical notation and how to play the flute and the piano. Looking back I realise that even as a kid the linear learning structure is very hard to accomplish in the beginning. I am sure I would have loved to learn with such an open and collaborative learning approach that Adnan Marquez-Borbon suggests. 

Keeping in mind, that the approach is aimed for more complex and often unique technologically mediated instruments I am sure, that this structure can be helpful also in other fields of computer-mediated channels like new and unknown software. Since a lot of daily tasks are getting more complex day by day I think we should see a collaborative learning approach as a serious opportunity to enhance not only our learning processes but also ideation processes in terms of innovative design. I currently started my summer job in the area of ‘making’ – means building, tinkering around and hacking all kind of old electronic rubbish in order to create new stuff, new ideas and appreciate creativity from a new, more practical perspective. This kind of practical process also nourishes from collaborative exchange of ideas and knowledge which is in my opinion a really fruitful way of creation. 

by Giuseppe Taormina -

The genius of Trent Reznor

One of the most influential bands of our time are certainly the Americans Nine Inch Nails (NIN), founded by singer / composer / programmer / multi-instrumentalist / visionary / genius Trent Reznor in 1988.

Nine Inch Nails have sold over 20 million records and were nominated for 13 Grammys and won 2. Time magazine named Reznor one of its most influential people in 1997, while Spin magazine once described him as “The most vital artist in music”.

Their concerts are characterized by their extensive use of thematic visuals, complex special effects and elaborate lighting; songs are often rearranged to fit a given performance, and melodies or lyrics of songs that are not scheduled to play are sometimes assimilated into other songs.

Trent is also famous for soundtracks of him along with his bandmate Atticus Ross.

They (he) deconstructed the traditional rock song, a bit like Sonic Youth did, but they went in a more electronic and aggressive direction. Their music is characterized by their massive use of Industrial sounds (although, not as massive as for the berliners Einstürzende Neubaten) in early works and lately is focused on analog and modular synths.

The sound design work is a really important part in their composition, as important as the harmony and the melody. They probably used every electronic instruments (and software) they could find, turning them all into their signature, creating that industrial NIN sound. Reznor’s sound is always clearly identifiable. While some of that is due to his sound design, which includes digital distortion and processing noise from a wide variety of sound sources,

What I find really impressive, besides the sound design and beautiful dark lyrics, is the unique choice of harmony and melody progression.

Nothing is predictable and even in the simplest progression there is that note that takes you deep into Reznor’s mind, away from any other musical word.

Reznor’s music has a decidedly shy tone that sets the stage for his often obscure lyrics.

His use of harmony, chords and melody also has a huge impact on his sound. In the movie Sound City, Reznor explains that he has a foundation in music theory, especially in regard to the keyboard, and this subconsciously influences his writing of him:

“My grandma pushed me into piano.  I remember when I was 5, I started taking classical lessons.  I liked it, and I felt like I was good at it, and I knew in life that I was supposed to make music. I practiced long and hard and studied and learned how to play an instrument that provided me a foundation where I can base everything I think of in terms of where it sits on the piano… I like having that foundation in there.  That’s a very un-punk rock thing to say. Understanding an instrument, and thinking about it, and learning that skill has been invaluable to me.”

Here are some example of his writing process:

  • Right where it belongs

Here’s is a continuous shifting between D major e D minor, that marks also an emotional shift of feeling, going constantly from sad to happy and viceversa. This helps give the song its emotional vibe.

  • Closer

Here the melodic line ascends the notes E, F,  G, and Ab.  The last note is intentionally ‘out of key’ to give an unique sound sound.

  • March of the Pigs

The harmonic and melodic choices of this song are simply impressive. They are exactly what an experienced musician would NEVER do, yet they work great.

The progression is unusual because the second chord is a Triton away from the first chord (this means, something really dissonant, that sound you would always try to avoid). The melody is brilliant. The song is (mostly) in the key of D minor (these are the notes of the D minor chord, D – F – A), but in the vocal line it sings an F #. Also, sing the major in a minor key, the worst thing to do, and yet it sounds great.

I must say that falling in love with their music helped to “color outside the borders”. It is a wonderful feeling to know how things should be and to consciously destroy those rules to follow the pure essence of your art.

For anyone interested in learning more about chord theory, here is the full article I was inspired by:

https://reverbmachine.com/blog/trent-reznor-chord-theory/

by Katrin Weißler -

Rhythm, Emotions and Storytelling

The filmmaker and percussionist Ryan Oksenberg is explaining his way of connecting rhythm in filmmaking.

“I think about what I’m working on and translate it into beat and establish a pace. […] Ask yourself, what exactly is it that makes a song catchy, or makes us dance or feel something? How do people talk and relate information to each other? How long do we take to process good news and bad news? It’s all rhythm.”[1]

Ryan Oksenberg is reading out loud the dialog of actors and finding the rhythm in their words, getting to know the speed and pauses spectators need. Cutting a film, the filmmaker thinks of a musical piece establishing and building a climax. Oksenberg uses long takes that “obscure an audience’s sense of time, but the real-time aspect of the long take makes you stressfully aware of the seconds ticking by.” The length of the shots gives a measurement of time which is creating suspense as well.

“When editing is used thoughtfully, creatively and musically it not only produces a powerful sensual experience but also contributes to our deeper understanding of film”. For example, in the film Requiem for a Dream by Darren Aronofsky quick cuts of widening pupils [2], needles, quick camara movements empower the “dramaturgical and emotional effect”[3]. The addiction is shown through repetitive visuals like a constant pattern which is creating a rhythm.

Walter Murch writes in “In The Blink Of An Eye” that emotions are the most important basis to cut footage. From emotions the criteria “descends with the story, rhythm, eye-trace, two-dimensional plane and lastly, three- dimensional plane. […] Murch prioritizes three of them; emotions, story, and rhythm.” [4] Catching reactions and making the audience feel through [5] will keep a film in the audience’s memory.  

Rhythm helps creating emotions through generating “full immersion” and “keeping the flow of storytelling uninterrupted”.[6]

[1] https://filmmakerfreedom.com/blog/rhythm-in-film [01.07.2021]

[2] Vgl Danijela Kulezic-Wilson: The Musicality of Narrative Film, p.47

[3] Danijela Kulezic-Wilson: The Musicality of Narrative Film, p.47

[4] https://unknownreel.home.blog/2019/09/17/a-perspective-on-film-editing-in-the-blink-of-an-eye-book-analysis/ [01.07.2021]

[5] Vgl https://filmmakerfreedom.com/blog/rhythm-in-film [01.07.2021]

[6] Danijela Kulezic-Wilson: The Musicality of Narrative Film, p.46

by Lukas Franz -

Flow

I think children are in a flow a lot [1]

So far I have analyzed some problems and circumstances not only in our society but also in our minds that lead to a rather negative state of mind or even mental diseases. With this article I want to focus on something incredibly positive, something that is even worth living for: the flow.
I’ve read the term “flow” in the context of psychology for the first time in the book “Thinking, Fast and Slow” by Daniel Kahneman. It striked me because it was absolutely congruent with what I have experienced. By referring to Mihály Csíkszentmihályi, Kahneman wrote that the flow is a curtain state of mind of effortless concentration which is so deep that you lose the sense of time, yourself and your problems. The joy that you experience is immense and Csíkszentmihályi says with good reason that the flow is the ideal experience of a human-being.

A lot of activities can set you in a flow whether it is making music, writing a book, or participating at a Formula-1 race. Driving a race car at 260 km/h or playing world class chess are without a doubt very exhausting activities. But what’s interesting about flowing is that you don’t need any self-control to maintain your focus on those activities, whereby resources are released that can be used for the activity. [2]

Mihaly interviewed various creative people and scientists to find out what makes them happy, and what makes them strive, sometimes without fame or fortune, and I would like to share two quotes with you here.
A well-known musician said: “You are in an ecstatic state to such a point that you feel as though you almost don’t exist. I have experienced this time and again. My hands seem devoid of myself, and I have nothing to do with what is happening. I just sit there watching it in a state of awe and wonderment. And the (music) just flows out of itself.”
A poet said: “It’s like opening a door that’s floating in the middle of nowhere and all you have to is go and turn the handle and open it and let yourself sink into it. You can’t particularly force yourself through it. You just have to float. If there’s any gravitational pull, it’s from the outside world trying to keep you back from the door.” [3]

And this is just exactly what I’ve felt, and what just made me incredibly happy. In fact, that is a major reason why I’ve started to pursue a creative career.

Regardless of the culture, education, or the like, Csíkszentmihályi claims that there seem to be seven conditions occurring when being in a flow:

  1. Total involvement in what we are doing – engaged, concentrated and focused
  2. A sense of ecstasy – of being outside everyday reality
  3. Inner Clarity – knowing what needs to be done and measuring our achievements resourcefully.
  4. Knowing that the activity is doable – that you have the skills you require for the task at hand.
  5. A sense of serenity – unconscious competence, present and a feeling of growing behind the boundaries of the ego.
  6. Timelessness – thoroughly focused on the present and in a zone of the fullness of being
  7. Intrinsic motivation – whatever produces flow becomes its own reward.

Owen Shaffer proposed seven clear and short steps that are necessary to get into the flow:

  1. Knowing what to do
  2. Knowing how to do it
  3. Knowing how well you are doing
  4. Knowing where to go (if navigation is involved)
  5. High perceived challenges
  6. High perceived skills
  7. Freedom from distractions [4]

Being a designer I am interested in getting myself into a flow. But I am also very interested in taking other people with me into a sort of flow. I wonder if it could be possible to enhance experiences with my knowledge about the flow. Is it something that can be triggered through design? I know that the flow is something really powerful not only regarding mental health. It is something worth considering for my master thesis.

PS: While writing this blog-post I was [almost] in a flow.

Ressources:
[1] https://upload.wikimedia.org/wikipedia/commons/8/8f/South-Goodwin.jpg
[2] Kahneman, Daniel (2011), Thinking, Fast and Slow
[3] Mihaly Csikszentmihalyi, TED2004
[4] Schaffer, Owen (2013), Crafting Fun User Experiences: A Method to Facilitate Flow, Human Factors International

by Florian Schmidt -

Jungle Night – Sideproject

“Jungle night” ist ein Sideproject bei dem ich weitere Erfahrungen beim Mappen von 2D Inhalten auf ein Gemälde gewinnen wollte. Speziell ging es darum den Inhalt des sonst statischen, planaren Gemälde mithilfe von Lichteffekten eine gewisse Tiefe und Lebendigkeit zu verleihen.

Das Gemälde und ein Stillframe der darauf projizierten Animation.

Ein vorläufiger Zusammenschnitt des Projekts finden sich unter folgendem Link:

https://drive.google.com/file/d/1ZhBRJ6HKt-uz67qhzYCa04Mrk_9u0uUQ/view?usp=sharing

by Maximilian Thum -

Automotive CGI // Projekt Porsche 911 Carrera 964 // Modellierung 02

Im Laufe des Modellierungsprozesses wird man auf diverse Schwierigkeiten stoßen, die es zu lösen gilt um ein möglichst optimales 3D Model zu erhalten.

In meinem Fall liegt meine erste Hürde bei der Vollendung der Basisform der Karosserie. Da sich mein Model von vorne nach hinten aufbaut, ist es am Heck eine besondere Herausforderung, die Polygone wieder genauso gleichmäßig zu verschließen, wie an der Front.

Der optimale Polygon-Flow

Aufgrund der Verwendung des “MeshSmooth” Modifikators ist es nötig, am gesamten Model nur Viereckige Polygone zu setzen. Der Modifikator halbiert jede Kante und unterteilt dementsprechend die angrenzenden Flächen und verschiedene Segmente.

Vierecke erhalten dabei die vorgegebene Richtung, da alles gleichmäßig geteilt werden kann, Dreiecke würden ungerade Anzahlen an Polygonen erzeugen und die Ausrichtung der gesetzten Kanten beeinflussen und fünf- oder mehreckige Polygone (sogenannte N-Gons), erzeugen ebenfalls weitere, oft nicht kontrollierbare Kanten. Dies führt zu unsauberen Ergebnissen im finalen Modell und ist besonders bei Fahrzeugmodellierung essentiell, da eine fehlerhafte Modelform durch einen glänzenden Lack anhand der Reflexion leicht zu erkennen ist.

In der Kreation der Basisform ist es hierbei noch vergleichsweise einfach den Polygon-Flow sauber zu halten. Im nächsten Schritt werden Details hinzugefügt, wie die Löcher für Scheinwerfer, Radkästen, Scheiben. Dabei ist besondere Vorsicht geboten, auf den zuvor erklärten Polygon-Flow zu achten, da beim Setzen von Schnitten und weiteren Unterteilungen leicht mehreckige Polygone erzeugt werden.

by Katharina Berger -

Vorteile und die richtige Anwendung von Gamification

In den letzten zwei Blogposts wurde näher darauf eingegangen, wie Gamification genutzt wird um Menschen dazu zu motivieren, zu handeln und mit etwas zu interagieren. Welche 8 Hauptantriebe gibt es, die zum Handeln motivieren und wie wirken sie sich auf die NutzerInnen aus? Auf welche sollte man zurückgreifen, wenn man auf langfristigen Erfolg aus ist, welche eigenen sich für kurzfristige Ziele und warum? Das alles wurde bereits behandelt, doch was genau sind jetzt die Vorteile von Gamification, was hat ein Betrieb davon bestimmte Prozesse zu gamifizieren oder bestimmte Produkte spielerischer zu gestalten?

Zuerst sollte einmal eine allgemeine Definition des Begriffs Gamification gefunden werden. Gamification ist die Nutzung spielerischer Elemente in einem spielfremden Kontext. So kann die Interaktionsrate, die Produktivität, Lernbereitschaft und auch die Motivation gesteigert werden. Gamification kann in Unternehmen, zu Lernzwecken, bei Produkten, Dienstleistungen, Plattformen oder Services verwendet werden. Im folgenden Blogpost soll es um einige Vorteile gehen, von denen man profitieren kann, wenn man Gamification integriert.

  1. Produktivitätssteigerung

Je motivierter Menschen sind, desto produktiver sind sie auch. Arbeitet man unter demotivierenden Arbeitsbedingungen in einem Unternehmen, erbringt man auch weniger und schlechtere Leistungen als wenn man gut unterstützt und motiviert wird. Eine spielerische Art und Weise, schafft ein entspannteres Umfeld und kann so zu einer Leistungssteigerung führen.

2. Motivationssteigerung

Bei der Verwendung von Gamification wird oft mit Erfolgskonzepten und Belohnungssystemen gearbeitet. Besonders gute Leistungen werden belohnt und spornen deshalb an, sie weiterhin zu erbringen. Das spielerische Setzen von Zielen erleichtert das tatsächliche Erreichen oder sogar Übertreffen dieser. So kommt es zu größerem Ehrgeiz, mehr Zufriedenheit, mehr Motivation und auch besseren Leistungen.

3. Gesteigertes Engagement

Der Arbeitseinsatz oder auch die Interaktionsrate von Kunden und Kundinnen steigt und die Menschen setzen sich mehr für ihr Unternehmen, ein Produkt, etc. ein. Durch diese gestärkte Identifikation mit etwas, profitieren Unternehmensziele, die Unternehmenskultur aber auch das Produkt, die Plattform oder der Service selbst. Auch die Bindung eines Kunden zu einer Marke kann dadurch weiter gestärkt werden.

4. Mehr Kreativität

Wenn Menschen spielerisch in Prozesse miteinbezogen werden, kommt es zur Entstehung kreativerer und breiter gestreuten Herangehensweisen und Ideen. Oft werden Ideen, Meinungen und Input von Nutzern und Nutzerinnen oder MitarbeiterInnen nicht beachtet, was zu einem großen Verlust an neuen Herangehensweisen führt. Dieses Potenzial sollte unbedingt ausgeschöpft werden, wobei spielerische Aktivitäten eine tolle Möglichkeit sind um Menschen anzuspornen kreativ zu denken.

5. Optimierung der Fähigkeiten

Gamification kann natürlich auch für Lernzwecke genutzt werden, ob in Unternehmen, Schulen, Ausbildungsprogrammen oder anderen Situationen spielt dabei keine Rolle. Viele Studien konnten schon beweisen, dass spielerisches Lernen durch eine freundliche Wettbewerbssituation motiviert, anspornt und tolle Erfolge erzielen kann. Spielerisches Lernen animiert die Teilnehmer weiterzumachen und aktiv und motiviert bei der Sache zu bleiben. Es kommt dadurch zu einer besseren Lernerfahrung, da man nicht „nur“ lernt, sondern auch Spaß dabei empfindet. Auch die Lernumgebung ist durch gamifiziertes Lernen oft angenehmer, und direktes Feedback trägt dazu bei, dass das Gelernte weiter gefestigt wird. Der universelle Einsatz trägt ebenfalls zum Erfolg von gamifizierten Lernprozessen bei.

6. Innovationssteigerung

Gerade in Unternehmen führt Gamification zu mehr Engagement, mehr Motivation, Produktivität und Kreativität, was sich oft in verbesserten Leistungen und neuen Innovationen äußert.

7. Steigerung der Markenbekanntheit

Wie vorher schon erwähnt wurde, werden Kunden durch gamifizierte Prozesse eher an ein Unternehmen gebunden und auch Mitarbeiter identifizieren sich mehr, mit dem was sie tun. Die Kombination aus beidem kann zu einem Wachstum der Bekanntheit einer Marke führen. Gamifizierte Programme können genutzt werden um die firmeninterne, aber auch firmenexterne Kommunikation zu verbessern, das Image einer Marke zu stärken und sie so besser im Markt zu platzieren.

Natürlich profitiert man nur von all‘ diesen Vorteilen nur wenn man Gamification richtig einsetzt. Scoringsysteme, das Aufsteigen in Levelform und das Geben von Echtzeit-Feedback, können, wenn sie falsch verwendet werden aber auch zu einem ungesunden Konkurrenzkampf und Frustration führen. Es ist wichtig, den menschlichen Aspekt nicht zu vernachlässigen und auch Feedback in anderen Formen zu geben als durch gamifizierte Prozesse. Gamification sollte eine Möglichkeit sein, auf freiwilliger Basis basieren und nicht zu einem Zwang werden. Denn wie das passieren und wie man es vermeiden kann, wurde schon im letzten Blogpost „Das Konzept der Motivation“ erläutert.

by Marcelino Zus -

Print experiment: “reality is analog”, part V–print edition on OHZ

After I had set the letters and printed a variety of prints together with the lino cut on the Asbern proof press, everything was ready for the print edition of about 100 460x660mm posters on the Heidelberg Zylinder at Druckzeug.

The Original Heidelberger Zylinder (OHZ) was produced between 1935 and 1979 and could print sheets of paper, depending on the machine mode, up to 104 x 72! Heidelberg Cylinders are fully mechanical (automatic) printing machines that improved the technical principles of earlier mechanical cylinder presses (which again were the results of technical improvement of manual cylinder presses).

In general the press is driven by a set of gears, which run the “paper run” (Papierlauf), a system of various picker arms transporting the paper, an inking unit, the moving fundament with the attached print forms and of course the central cylinder. Though later models were able to print two colours in one run, with the most common OHZ-S printers it’s only possible to print one colour on one side of the paper per printing run, though still it is possible to combine letterset with other printing forms in the same run.

OHZ for printing two colours in on printing run

How each unit of the machine work together in a synchronous way is as fascinating as it is ingenious: on the one side of the machine an aspirator is taking one sheet of the paper stack, which slightly moves up step by step. From the aspirator the first picker arm transports the sheet to the next picker on the cylinder. At the same time, on the other side of the machine there’s an inking unit that distributes a certain amount of colour over a set of metal and rubber rolls. On this side the printing block is set on a fundament that is running like a sleigh in and out the machine. By passing the inking unit the block takes the right amount of colour for the print, which happens while the sleigh is running beneath the rotating cylinder. After one rotation the cylinder forwards the printed sheet of paper to another set of pickers that eventually release the print below the unprinted paper stack.

The adjustments that are necessary to properly operate the OHZ are in general the run of the paper (adjusting the replenishment of paper), setting the right position of the printing image by adjusting printing block and paper (again the “Anlage” needs to be fine tuned to guarantee the same position on each print), preparing the printing block on the fundament, strengthening the “Aufzug” (a sheet of paper that’s tightened to the metal cylinder) on the cylinder to adjust pressure, as well as the adjustment of the inking unit.

In the inking unit you can place various colours to print gradients.

As I already had the proof prints, I didn’t have to adjust the height of letters and lino cut and being instructed by a skilled and experienced printer who learned the processes of letterpress before it became an extinct job, we decided to make use of the adjustable zones of the inking unit to print a black and red gradient. Again within the inking unit you’re able to adjust the amount of colour you need for specific areas of your print. Too little colour for bigger areas will result in little saturation, while too much colour, e.g. for small types, will result in blurry edges. As the ink is manually put in to the inking unit you can decide on the position of your gradient.

For my printing experiment we also adjusted the position of the gradient, turning more into black towards the last few copies. Therefore the next part of my print experiment aims at investigating the appearance of the gradient, but also at looking for various inaccuracies that may come with using analog materials and printing techniques – stay tuned for part six, repro photography of print edition.

Sources:
https://digital.deutsches-museum.de/item/78462/
https://de.wikipedia.org/wiki/Zylinderpresse

by Theresa Dachauer -

Who inspires me #4

Daniel Shaffer (@danielhshaffer) is a freelance illustrator based in Atlanta, Georgia. His work in featured in many known magazines/papers like The New York Times, The Washington Post or Variety Magazine and his clients also include Cartoon Network, Samsung Publishing and many more.

I like his art mainly because it’s a bit weird (in the best way). Looking at his work is always fun and it makes me feel like not all art needs to be perfectly crafted and has to make sense. Seeing someone succeed which creating things they love without restricting themselves is refreshing. It gives me the courage to think about drawing shapes and characters that many people would label as strange without feeling ashamed of my desire to create something that just feels fun to create. Daniel Shaffer seems like he’s enjoying his job a lot and I strive to do the same.