Looking for images? Four basic questions to ask yourself
1. What do I need the image for? (private study, essay, presentation)
2. Where is the best quality image to be found? (galleries and image databases)
3. Which websites have most trustworthy? (institutional websites such as galleries, museums or universities are to be recommended)
4. Do I have permission to use the image? (Check the terms and conditions of use on the host site)
Resizing images for your essay or project
The image properties are measured in pixels (picture elements per inch) for example 64 x 48 is a small image, 640 x 480 is a medium size image and 6400 x 4800 is a large image. Increasing the size of a small digital image will result in a blurry or pixelated image. It is easier to reduce the size of a larger digital image than to increase a smaller one.
Note that all images you find online are not free to use so check the terms and conditions of use on the site. If you are allowed to use that image for private study or for your project work it is important to reference it in much the same way as you would reference a textual source.
Referencing images in your essay or project
From the Web
artist: title of work. date; gallery or museum, city [online source]. [date of site] URL: site address found in address bar [date of site access]. URL stands for Uniform Resource Locator, a string of code making up the website address, for example, http://www.wga.hu/art/r/raphael/3umbtrip/37entom.jpg
Raphael: The Entombment (The Deposition) 1507; Galleria Borghese, Rome [World Wide Web search interface]. [2009] URL: http://www.wga.hu/art/r/raphael/3umbtrip/37entom.jpg [15 Oct 2009].
From a text
Raphael: The Entombment (The Deposition) 1507; Galleria Borghese, Rome (in, followed by the name of the author, date of publication, page and/or illustration number). Remember to include the citation as a reference in your bibliography.
Tuesday, 20 October 2009
Wednesday, 8 July 2009
Beyond Wikipedia and Google: Resources Workshop Series
Resources workshops for first academic term, 2009/10
Period 01 13th October - 8th December 2009
These sessions are open to undergraduates and postgraduates
13th Oct – 8th Dec 3-4pm ORB_123 (O'Rahilly Building)
____________________________________________________________
Oct-13 Introduction to History of Art online resources
This session surveys History of Art's current online resources
Oct-20 Beyond Google and Wikipedia: Website evaluation
What are the criteria for choosing the most appropriate online resources?
Oct-27 Art History databases, galleries and portals
This session explores the best way to access hard to find images
Nov-03 Online research tools and the visualisation of data
This session surveys the latest online tools for data capture and representation
Nov-10 How to use web sources responsibly (citation and copyright)
This session reviews the citation of online sources in project work, papers and dissertations
Nov-17 Understanding digital images (files, size and compression)
This session suggests ways to import images in presentations and projects
Nov-24 Understanding digital images (colour and capture)
This session is relevant for image capture in presentations and projects
Dec-01 Using digital images in PowerPoint presentations
This session is relevant for image capture in presentations
Dec-08 Advanced PowerPoint (embedding media)
This session is relevant for image capture in presentations
Dec-15 Review and workshop evaluation
The series will be co-ordinated by James G. R. Cronin and guided by facilitators from the School of History (including History of Art) and the Boole Library, University College Cork. Topics will be explored through a inquiry-based learning (IBL) approach. Theory will be embedded in practice as each session will focus upon an authentic problem or issue to engage with. Traces of sessions will be archived on this blog site. Students will be encouraged to suggest topics for the second term.
Fostering information literacy skills has been identified as a significant challenge to be faced over the next five years read. This series aims to engage with this challenge.
IBL: Inquiry-based learning (IBL) resembles problem-based learning (PBL). Both are student-centered instructional strategies in which students collaboratively solve problems and reflect on their experiences. Students work in small collaborative groups. Students are encouraged to direct the learning process with support from a tutor or instructor who acts as a learning facilitator. Advocates of IBL and PBL claim these approaches can be used to enhance content knowledge and foster the development of communication, problem-solving, and self-directed learning skills.
Period 02 5th January- 30th March 2010
1st Years
5th Jan – 30th March 1-2pm ORB_244 (O'Rahilly Building)
2nd Years
5th Jan – 30th March 3-4pm Boole 5 (Boole Basement)
Period 01 13th October - 8th December 2009
These sessions are open to undergraduates and postgraduates
13th Oct – 8th Dec 3-4pm ORB_123 (O'Rahilly Building)
____________________________________________________________
Oct-13 Introduction to History of Art online resources
This session surveys History of Art's current online resources
Oct-20 Beyond Google and Wikipedia: Website evaluation
What are the criteria for choosing the most appropriate online resources?
Oct-27 Art History databases, galleries and portals
This session explores the best way to access hard to find images
Nov-03 Online research tools and the visualisation of data
This session surveys the latest online tools for data capture and representation
Nov-10 How to use web sources responsibly (citation and copyright)
This session reviews the citation of online sources in project work, papers and dissertations
Nov-17 Understanding digital images (files, size and compression)
This session suggests ways to import images in presentations and projects
Nov-24 Understanding digital images (colour and capture)
This session is relevant for image capture in presentations and projects
Dec-01 Using digital images in PowerPoint presentations
This session is relevant for image capture in presentations
Dec-08 Advanced PowerPoint (embedding media)
This session is relevant for image capture in presentations
Dec-15 Review and workshop evaluation
The series will be co-ordinated by James G. R. Cronin and guided by facilitators from the School of History (including History of Art) and the Boole Library, University College Cork. Topics will be explored through a inquiry-based learning (IBL) approach. Theory will be embedded in practice as each session will focus upon an authentic problem or issue to engage with. Traces of sessions will be archived on this blog site. Students will be encouraged to suggest topics for the second term.
Fostering information literacy skills has been identified as a significant challenge to be faced over the next five years read. This series aims to engage with this challenge.
IBL: Inquiry-based learning (IBL) resembles problem-based learning (PBL). Both are student-centered instructional strategies in which students collaboratively solve problems and reflect on their experiences. Students work in small collaborative groups. Students are encouraged to direct the learning process with support from a tutor or instructor who acts as a learning facilitator. Advocates of IBL and PBL claim these approaches can be used to enhance content knowledge and foster the development of communication, problem-solving, and self-directed learning skills.
Period 02 5th January- 30th March 2010
1st Years
5th Jan – 30th March 1-2pm ORB_244 (O'Rahilly Building)
2nd Years
5th Jan – 30th March 3-4pm Boole 5 (Boole Basement)
Tuesday, 10 March 2009
Digital Humanities opening new career paths for History and History of Art graduates
In recent years History and Art History graduates have found positions on digital projects. Many of these projects involve making public historical texts and images. Examples of Irish projects include: Long Room Hub, (Trinity College Dublin), Texts, Contexts, Cultures (NUI, Galway, Trinity College Dublin, University College Cork) and the Digital Humanities Observatory (DHO) (Royal Irish Academy). Many projects require graduates with postgraduate qualifications and experience, but you may have what the project needs. Find a project you are interested in and contact the project leader for more information or advice.
Digital Humanities is an umbrella term describing the impact of information technologies in the teaching, learning and researching of subjects like History and History of Art. The 18th March 2009 was assigned a Day in the Life of the Digital Humanities when scholars all over the world, working in the area of humanities computing, wrote an individual diary of their day. The project is published online. This project gives you a sense of the diverse work of digital humanists. Dr. Julianne Nyhan, a digital humanist at the University of Trier, Germany, is a graduate of University College Cork. She took History of Art as a first year option.
Digital Humanities is an umbrella term describing the impact of information technologies in the teaching, learning and researching of subjects like History and History of Art. The 18th March 2009 was assigned a Day in the Life of the Digital Humanities when scholars all over the world, working in the area of humanities computing, wrote an individual diary of their day. The project is published online. This project gives you a sense of the diverse work of digital humanists. Dr. Julianne Nyhan, a digital humanist at the University of Trier, Germany, is a graduate of University College Cork. She took History of Art as a first year option.
Thursday, 12 February 2009
Websearching an independent topic
Context:
The Tudor king, Henry VIII succeeded his father Henry VII in 1509. He is best remembered for his six marriages and for ordering the dissolution of religious houses which took place between 1535 and 1539. His quest for a male heir and divorce from his first wife Catherine of Aragon led to his establishing himself as head of the Church in England in place of the Pope in 1535 thereby beginning the English Reformation.
Problems:
I am researching Tudor royal iconography, especially portraits of Henry VIII. I want to find visual evidence for the use of the title Fidei Defensor or "Defender of the Faith" conferred by Pope Leo X on Henry VIII of England in 1521 to reward his writing of a treatise against Martin Luther. Where can I find relevant visual material? How do I begin my search? Where do I begin to look?
Approaches:
In addition to portraits, you may consider wider evidence from visual culture. Prints, medals, seals and coins can be rich sources for understanding changes in royal iconography over time as they often bring text and image together. The addition of a text to an image may encourage us to ask: how did the image-makers intend the image to be read? Does the addition of a text to an image restrict possible readings? How do we know it was read, by its intended audience, in the intended way?
In the context of the problem posed, your search could centre on the collections of the British Library and the National Portrait Gallery, London.
Some useful links:
Extract from the papal bull of 1521
Early printed bibles in the British Library, London. In these frontispieces, Henry VIII is shown enthroned holding a book and a sword. He is show approprating symbols of Church (the book) and State (the sword). Thereby, displaying his authority over both institutions. This is echoed in King's Tudor Royal Iconography: Literature and Art in an Age of Religious Crisis Princeton, 1989.
Gold Seal of Henry VIII with inscribed title
Henry VIII and the Barber-Surgeons, 1540, painted by Hans
Holbein, note Henry holds the Sword of State and a seal.
Etching of Henry VIII (ca. 1545) with inscribed title, National Portrait Gallery, London.
Portrait of Henry VIII by Peter Isselburg (Yselburg, Eisselburg), after Cornelis Metsys (Massys) (1508 or 1510-after 1580)
line engraving, 1646, inscribed title, National Portrait Gallery, London
17th Century print of Henry VIII with inscribed title, National Portrait Gallery, London. This may be useful for illustrating later receptions of the title. By the term "reception" we mean how the image was depicted at a later time. An example of this is seen in the use of title abbreviation on contemporary British coins see Threeminutetheologian blog
The Tudor king, Henry VIII succeeded his father Henry VII in 1509. He is best remembered for his six marriages and for ordering the dissolution of religious houses which took place between 1535 and 1539. His quest for a male heir and divorce from his first wife Catherine of Aragon led to his establishing himself as head of the Church in England in place of the Pope in 1535 thereby beginning the English Reformation.
Problems:
I am researching Tudor royal iconography, especially portraits of Henry VIII. I want to find visual evidence for the use of the title Fidei Defensor or "Defender of the Faith" conferred by Pope Leo X on Henry VIII of England in 1521 to reward his writing of a treatise against Martin Luther. Where can I find relevant visual material? How do I begin my search? Where do I begin to look?
Approaches:
In addition to portraits, you may consider wider evidence from visual culture. Prints, medals, seals and coins can be rich sources for understanding changes in royal iconography over time as they often bring text and image together. The addition of a text to an image may encourage us to ask: how did the image-makers intend the image to be read? Does the addition of a text to an image restrict possible readings? How do we know it was read, by its intended audience, in the intended way?
In the context of the problem posed, your search could centre on the collections of the British Library and the National Portrait Gallery, London.
Some useful links:
Extract from the papal bull of 1521
Early printed bibles in the British Library, London. In these frontispieces, Henry VIII is shown enthroned holding a book and a sword. He is show approprating symbols of Church (the book) and State (the sword). Thereby, displaying his authority over both institutions. This is echoed in King's Tudor Royal Iconography: Literature and Art in an Age of Religious Crisis Princeton, 1989.
Gold Seal of Henry VIII with inscribed title
Henry VIII and the Barber-Surgeons, 1540, painted by Hans
Holbein, note Henry holds the Sword of State and a seal.
Etching of Henry VIII (ca. 1545) with inscribed title, National Portrait Gallery, London.
Portrait of Henry VIII by Peter Isselburg (Yselburg, Eisselburg), after Cornelis Metsys (Massys) (1508 or 1510-after 1580)
line engraving, 1646, inscribed title, National Portrait Gallery, London
17th Century print of Henry VIII with inscribed title, National Portrait Gallery, London. This may be useful for illustrating later receptions of the title. By the term "reception" we mean how the image was depicted at a later time. An example of this is seen in the use of title abbreviation on contemporary British coins see Threeminutetheologian blog
Friday, 30 January 2009
Looking at images: questions to ask yourself
The following are a selection of questions you could use to scaffold your critical analysis of an image. The following examples relate to looking at a painting, but you could modify these questions to support looking at a piece of sculpture or a building.
This is not an exhaustive list, add your own questions if you like:
The image caption may answer the following questions:
Who is the artist?
What is the title of the work?
What is the size of the work?
What is the medium (fresco, oil, tempera etc.)?
What is the date?
Where is the work now located?
Many of us forget to describe what we see:
How is the composition arranged (tight or loose)?
How is the subject painted (heavy or light brush work)?
How does colour evoke mood (atmospheric, dramatic)?
What details look familiar or unfamiliar to you?
Is there anything that stands out for you?
Does this connect with anything seen before?
Look closer for meaning through style and symbol:
Do you recognise the subject (content of the painting)?
What does the subject-matter tell you about its meaning?
Who commissioned the work (patron)?
Why was it commissioned (public or private commission)?
Who owned the work (did it change hands)?
Is it characteristic of the period (art historical style)?
Think about the context of the work and what has been critically written about it.
How does this effect the way we look at the composition?
What is the original historical context (period)?
How does context inform meaning (significant events)?
Do sketches inform the work (are there changes over time)?
Has the work been restored (any new discoveries)?
What has been written about the work (art history/ criticism)?
How does critical opinion inform meaning (art history/ criticism)?
This is not an exhaustive list, add your own questions if you like:
The image caption may answer the following questions:
Who is the artist?
What is the title of the work?
What is the size of the work?
What is the medium (fresco, oil, tempera etc.)?
What is the date?
Where is the work now located?
Many of us forget to describe what we see:
How is the composition arranged (tight or loose)?
How is the subject painted (heavy or light brush work)?
How does colour evoke mood (atmospheric, dramatic)?
What details look familiar or unfamiliar to you?
Is there anything that stands out for you?
Does this connect with anything seen before?
Look closer for meaning through style and symbol:
Do you recognise the subject (content of the painting)?
What does the subject-matter tell you about its meaning?
Who commissioned the work (patron)?
Why was it commissioned (public or private commission)?
Who owned the work (did it change hands)?
Is it characteristic of the period (art historical style)?
Think about the context of the work and what has been critically written about it.
How does this effect the way we look at the composition?
What is the original historical context (period)?
How does context inform meaning (significant events)?
Do sketches inform the work (are there changes over time)?
Has the work been restored (any new discoveries)?
What has been written about the work (art history/ criticism)?
How does critical opinion inform meaning (art history/ criticism)?
Wednesday, 3 December 2008
Image searching
Looking for images? -- questions to ask yourself:
1. What do I need the image for?
(e.g. private study, essay, presentation)
2. Where is the best quality image to be found?
(e.g. galleries and databases)
3. Which image should I choose?
(see image properties)
4. Which Websites are best to use?
(e.g. institutional Websites are to be recommended)
5. Do I have permission to use the image?
(Check the terms and conditions of use on the host site.
If posting online, if in doubt, hyperlink out to the host site)
6. Where should I begin my search?
(try the current location of the image if known)
Finding images online is not always easy. Remember that you may have to visit a number of sites to find what you are looking for. Always try and locate the biggest image you can find online. If you click on an image you can find its properties. This will tell you its size. Images are measured in pixels per inch. So, the higher the number of pixels the better the quality of the image. Most images you will be looking for are in JPEG format. You know this because the file extension is dot JPEG (Joint Photographic Experts Group). JPEG is a form of compression called "lossy compression" and is used for images (photographs). The more the JPEG is saved (therefore re-compressing an already compressed image) the more information about that image is lost. If you try and enlarge a small JPEG image you will loose quality and the image will become pixelated. In other words, it will look blurry. Try and select the largest image you can find online.
For help with finding images visit TASI
1. What do I need the image for?
(e.g. private study, essay, presentation)
2. Where is the best quality image to be found?
(e.g. galleries and databases)
3. Which image should I choose?
(see image properties)
4. Which Websites are best to use?
(e.g. institutional Websites are to be recommended)
5. Do I have permission to use the image?
(Check the terms and conditions of use on the host site.
If posting online, if in doubt, hyperlink out to the host site)
6. Where should I begin my search?
(try the current location of the image if known)
Finding images online is not always easy. Remember that you may have to visit a number of sites to find what you are looking for. Always try and locate the biggest image you can find online. If you click on an image you can find its properties. This will tell you its size. Images are measured in pixels per inch. So, the higher the number of pixels the better the quality of the image. Most images you will be looking for are in JPEG format. You know this because the file extension is dot JPEG (Joint Photographic Experts Group). JPEG is a form of compression called "lossy compression" and is used for images (photographs). The more the JPEG is saved (therefore re-compressing an already compressed image) the more information about that image is lost. If you try and enlarge a small JPEG image you will loose quality and the image will become pixelated. In other words, it will look blurry. Try and select the largest image you can find online.
For help with finding images visit TASI
Wednesday, 12 November 2008
Digital rights: examples from the visual arts
In today's global economy, knowledge capital, as opposed to physical capital, is central. The rights of content providers need to be considered with and interests of content users. Higher education institutions in the UK have signed up to the DACS (Design and Artists Copyright Society) Agreement. By this agreement the Copyright Licensing Agency (CLA) are permitted to include all artistic works in its licences and for DACS to receive a share of that revenue. In Ireland, the agreement between the Irish Copyright Licensing Agency (ICLA) and the Irish Visual Artists Rights Organisation (IVRO) appears to be a similar arrangement.
Nowadays museums and other cultural institutions are increasingly making their collections available online. Broadly speaking, galleries and museums in the United States will only allow users to browse their online collections. The downloading of images is only permitted for personal use. Hyerlinks gallery sites and their image collections can be legally served online. In some cases, sites request that the hyerlink can only legally operate if it opens in a separate window of the browser. Broadly speaking, in the UK and Europe it is the responsibility of the individual or institution to obtain permission from copyright holders or their agents before a reproduction of works or any other content is made, or this will constitute an infringement of copyright. In Europe, the principal copyright collecting societies are: ADAGP for France, BILDKUNST for Germany, VEGAP for Spain and ARS for the United States.
Wikicommons on Wikipedia is a repository of free content images, sound and other multimedia files. Many of the art images on Wikipedia are in the public domain in the United States under the terms of The Digital Millennium Copyright Act (DMCA) 1998, but this may not be the case in other countries. So, the copyright status of images needs to be checked on an individual bases.
Nowadays museums and other cultural institutions are increasingly making their collections available online. Broadly speaking, galleries and museums in the United States will only allow users to browse their online collections. The downloading of images is only permitted for personal use. Hyerlinks gallery sites and their image collections can be legally served online. In some cases, sites request that the hyerlink can only legally operate if it opens in a separate window of the browser. Broadly speaking, in the UK and Europe it is the responsibility of the individual or institution to obtain permission from copyright holders or their agents before a reproduction of works or any other content is made, or this will constitute an infringement of copyright. In Europe, the principal copyright collecting societies are: ADAGP for France, BILDKUNST for Germany, VEGAP for Spain and ARS for the United States.
Wikicommons on Wikipedia is a repository of free content images, sound and other multimedia files. Many of the art images on Wikipedia are in the public domain in the United States under the terms of The Digital Millennium Copyright Act (DMCA) 1998, but this may not be the case in other countries. So, the copyright status of images needs to be checked on an individual bases.
Subscribe to:
Posts (Atom)