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- Creators: School of Art
- Creators: The Design School
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
"Many Faces" is the result of a year-long exploration of online harassment. It includes multiple graphic design projects which reference the phenomenon of online harassment and attempt to solve it (or at least contribute to a solution), all in different ways.
According to a survey performed by Pew Research in 2014, 40% of Internet users have experienced online harassment. 18% had experienced severe harassment – stalking, sexual harassment, physical threats – while 22% had only experienced less severe harassment, such as name-calling. Women ages 18–24 receive a disproportionately large percentage of all severe online harassment. The emotional trauma suffered from severe or long-term harassment can lead to (and has led to) fear, depression, and suicide in the worst cases.
The anonymity of the Internet partially enables online harassment, since it allows perpetrators to hide behind usernames or false images while they harass others — there is little accountability. However, 66% of online harassment happens on social media platforms, where people's names and images are usually readily available. This indicates that anonymity is not the only factor, and not even the main factor. Rather, the separation of the Internet from the physical world, that which makes it less "real," is what enables harassers to treat it as entirely different experience. They can say across a keyboard what they might never say face-to-face.
To increase my understanding of the problem, I made two three-dimensional pieces – a functioning clock and an exhibit wall. Each project explored different aspects of online harassment and implored the audience to keep compassion and kindness in mind while interacting with others digitally.
Another goal was to create a campaign which could tackle the problem on a larger, more definite scale. To learn from others' attempts, I studied two recent, real-world campaigns against online harassment, Zero Trollerance and HeartMob. Each of these received significant amounts of good press on online news outlets, but people who enjoyed or were helped by those campaigns were grossly outnumbered by those who criticized and even lambasted those campaigns, for various reasons.
I determined that the reactive nature of those campaigns was the main cause of their failure, so I created a proactive campaign with the goal of preventing online harassment, rather than correcting it. I designed the beginnings of "You & I," a multiplayer online game for children ages 4–6, which would encourage positive interaction between players through its very game mechanics. Ideally, the habits formed by the children while playing this game would carry over to their future Internet experiences, and a new generation of kinder, more cooperative, "native" Internet users would arise, reducing the amount of harassment seen on the Internet.
According to a survey performed by Pew Research in 2014, 40% of Internet users have experienced online harassment. 18% had experienced severe harassment – stalking, sexual harassment, physical threats – while 22% had only experienced less severe harassment, such as name-calling. Women ages 18–24 receive a disproportionately large percentage of all severe online harassment. The emotional trauma suffered from severe or long-term harassment can lead to (and has led to) fear, depression, and suicide in the worst cases.
The anonymity of the Internet partially enables online harassment, since it allows perpetrators to hide behind usernames or false images while they harass others — there is little accountability. However, 66% of online harassment happens on social media platforms, where people's names and images are usually readily available. This indicates that anonymity is not the only factor, and not even the main factor. Rather, the separation of the Internet from the physical world, that which makes it less "real," is what enables harassers to treat it as entirely different experience. They can say across a keyboard what they might never say face-to-face.
To increase my understanding of the problem, I made two three-dimensional pieces – a functioning clock and an exhibit wall. Each project explored different aspects of online harassment and implored the audience to keep compassion and kindness in mind while interacting with others digitally.
Another goal was to create a campaign which could tackle the problem on a larger, more definite scale. To learn from others' attempts, I studied two recent, real-world campaigns against online harassment, Zero Trollerance and HeartMob. Each of these received significant amounts of good press on online news outlets, but people who enjoyed or were helped by those campaigns were grossly outnumbered by those who criticized and even lambasted those campaigns, for various reasons.
I determined that the reactive nature of those campaigns was the main cause of their failure, so I created a proactive campaign with the goal of preventing online harassment, rather than correcting it. I designed the beginnings of "You & I," a multiplayer online game for children ages 4–6, which would encourage positive interaction between players through its very game mechanics. Ideally, the habits formed by the children while playing this game would carry over to their future Internet experiences, and a new generation of kinder, more cooperative, "native" Internet users would arise, reducing the amount of harassment seen on the Internet.
ContributorsWilliams, Peter Ross (Author) / Sanft, Alfred (Thesis director) / Heywood, William (Committee member) / The Design School (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
I saw a Dove ad called "Real Beauty Sketches" where a group of women described themselves to a sketch artist, and then a complete stranger described them to the same artist. By the end of the ad, it's apparent that the women, when describing themselves, were very critical of all their features. When total strangers described them the resulting portrait was more beautiful to the women. The take-away from the campaign was that others see more beauty in you than you do in yourself. I explored that idea through my thesis. My aim in this project was to learn to see the beauty in myself through personal artistic expression. I completed a series of self-portraits; for about four months straight I drew one portrait of myself every single day. I also recorded my thoughts in a diary entry as I drew my portrait, hoping to capture my emotions and moods during that day. The resulting outcome of my creative project is twofold. The physical outcome is about 100 self-portraits and daily diary entries that represent the creative thesis project I pursued. The second outcome cannot be physically seen. I have discovered more about myself in four months than I have in twenty years. I have begun to see myself differently, and positively. This thesis project turned into a journey of self-exploration, and I'm looking forward to what the future holds for me.
ContributorsRao, Rachana Sai (Author) / Hood, Mary (Thesis director) / Button, Melissa (Committee member) / School of Art (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
For my creative project, I began an art press that produces small-run vinyl records and artist's books. Initially, the venture began as a means to circumvent record pressing facilities as a vinyl record-cutting service. By the end of this project, the focus shifted to encompass more visual art products than just vinyl records. The project began with vinyl records because I saw a need in the market; in the past decade, the industry has grown dramatically, but the dozen record pressing plants in the country cannot keep up with the demand. Because record pressing companies prioritize large orders, it is difficult for many small bands and independent record labels to produce work on this medium. This is due to the long lead times, high prices, and large minimum order sizes. I located a man in Germany, who invented a machine that makes high-quality, lathe-cut records. I named the project Blushing Soup, as homage to my father, who passed during my first semester of college. It is through his passing that I was able to secure funds to pursue this venture. I brought on a partner, who was more familiar with art and audio recording than myself. In the summer of 2015, we met with this inventor to learn how to use his machine. By October of 2015, a machine of our own had arrived. In early November, Blushing Soup won a grant from the Scottsdale Museum of Contemporary Art. During this time, we released two vinyl records for local bands. For a culminating project, I coordinated a Record Store Day compilation album consisting of six bands featuring. After securing all of the music, the machine started having problems, which forced me to cancel this release. Recognizing the delicacy of the machine, prompted a shift in the aim of Blushing Soup. During this process, I started learning printmaking processes, and I realized that Blushing Soup could function as more than a record cutting service; we could be an art press. In the last few month of this project, I started making artist's books. By the end of April 2016, Blushing Soup will have released vinyl records for two bands, as well as produced four handmade books. This creative project centered around the process of creating art through lathe cutting and printmaking; the objective was not to maximize profits but rather refocus the consumption of art (in a sustainable practice).
ContributorsStringer, Shelby Manning (Author) / Essig, Linda (Thesis director) / Peck, Sidnee (Committee member) / School of Art (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
As part of their MainStage season, Arizona State University's School of Film, Dance and Theatre put on a production of the play Lasso of Truth in the Lyceum Theatre. This project chronicles the Student Stage Manager's work in the production via the prompt book that was created for the show. A theatrical prompt book is a compilation of all blocking notes, meeting reports, designs, show cues, and any other relevant information necessary to ensure that the production runs smoothly.
ContributorsWooldridge, Michaela Gabrielle (Author) / Aberger, Thomas (Thesis director) / Fields, Pamela (Committee member) / Friedman, Josh (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Script supervising is a job on a film set that is often overlooked; however, without the script supervisor there could be countless errors in a movie. Script supervisors keep track of the continuity of the script, including matching actions, eye-lines, and all of the details in the set. The other main task of the script supervisor is to record information; he or she keeps track of the director's favorite takes, general camera information, and what each shot covers. My thesis covers an in-depth look at the practice of script supervising as well as my experiences script supervising two feature films.
ContributorsGeske, Victoria Manette (Author) / LaMont, Christopher (Thesis director) / Bernstein, Gregory (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2014-12
Description
"Should I kill myself, or have a cup of coffee?" \u2014 Albert Camus Making a decision between committing suicide or continuing about the monotony of a life void of meaning can be surprisingly difficult to make when all human logic entices us to do the former. In fact, doing the latter seems definitively humanely impossible. In my art series "The Absurd Man", I visually analyze a variety of human reactions to absurdism, drawing from absurdist texts as well as personal experiences to force upon the viewer, recognition of the discomforting reality of human frailty.
ContributorsTa, Trang Thuy (Author) / Pessler, Anthony (Thesis director) / Obuck, John (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Art (Contributor)
Created2015-05
Description
‘why we bend' a Bachelor of Fine Arts honors thesis exhibition by Ximenna Hofsetz and Tiernan Warner brings together installation, digital, sculptural, and printed artwork. The main focus concerns memory; and its vague, formless, and hazy nature. The work also examines what would happen if cognitive space could be physically mapped? What would it look like in sculptural form? Memory erodes and distorts with time. We influence our memories as much as they affect us. Thus, just as relationships are ever-changing, and our memories of those we interact with constantly shifting, our relationships with our own memories are malleable and evolve through time. This transient nature of memory is depicted in the various stylistic means of this exhibition by referencing time and space as well as personal memories and ephemera in both concrete and abstract ways. ‘why we bend’ implements a variety of multimedia techniques to examine recollection and its hold on us.
ContributorsHofsetz, Ximenna Cedella (Author) / Gutierrez, Rogelio (Thesis director) / Hood, Mary (Committee member) / Barrett, The Honors College (Contributor) / School of Life Sciences (Contributor) / School of Art (Contributor)
Created2014-12
Description
Fire Shelter Foam Assist is meant as a firefighter's last effort of survival when a wildfire threatens their position. When deployed, it will cover the firefighter as the fire blows over. By reducing the time of deployment and simplifying the process, firefighters will have more time to ensure the area around them is cleared. The Fire Shelter Foam Assist has features that allow it to auto deploy around the firefighter through the use of fire foam retardant. The fire foam retardant inflates the shelter as well as provides an extra layer of protection against the wildfire.
ContributorsSmith, Tori Elizabeth (Author) / Shin, Dosun (Thesis director) / McDermott, Lauren (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / The Design School (Contributor)
Created2015-05
Description
I set out to better understand the issues, perceptions & solutions surrounding drought. The question that compelled my project was "What might be all the ways that we can improve the experience of conserving, reusing & educating on the topic of water." Through the process of design research I developed a system of products that improves the user experiences surrounding water. The result is IOW, an intelligent 3-product system that aims to make your water needs & wants smarter & less wasteful.
ContributorsShappee, Christian Kyle (Author) / Shin, Dosun (Thesis director) / McDermott, Lauren (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Sustainability (Contributor) / The Design School (Contributor)
Created2015-05