workshopping?
I tend to think of design variables as being on a sliding scale of various opposites. I mean, you can take one thing and morph it to infinity! ^_^ And each of the morphs will say something different. Moreover, each version will resonate with this person, but not with that person. Having said this, two things come to mind . . .
The first is that there are certainly universal criteria of compositional form. So, whatever version of the infinite series we mentioned, it would have to be formally coherent. This is where workshopping is useful. It's like an editorial team spotting the flaws in a novel because the author was too close to their baby.
Secondly, the originator, if they are on the ball, will be intuiting the delivery of their idea. The need to be true to the emergent entity, but also considering who will be using it. Imagining a target audience is one useful habit for the latter. And, again, workshopping provides useful feedback for this too.
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NOTES
WORKSHOPPING/SHOP WINDOW: These are the two basics of our haiga group. The latter needs no explanation. The former needs some adjustment to if we are new to the critiques of other people.
We can ALL benefit from outside opinion regarding our work. This is a short item which gives the general attitude I personally have about workshopping. In the core manual of chinese culture, the I Ching it says repeatedly: "Everything serves to further." I've found this to be most true. Whatever goes down usually has an obvious benefit (after we stop being agitated, that is).
http://en.wikipedia.org/wiki/I_Ching
CRITQUE ATTITUDE: It's good for us all to take a step back and look through other's window on the world. In doing this our own inner-artist becomes gradually individuated. As this happens we become more objective and less worried about opinion - though we measure with that opinion. . . .
http://tinyurl.com/NipponHaiga
COMPOSITION: Basic readability and overall aesthetic balance are a major wrestling match when it comes to haiga and other graphics/text coalitions. These are primary crafting challenges and we do need to put ourselves in our audience's moccasins for a mile or 3 in order to be comprehended, if not appreciated.
http://en.wikipedia.org/wiki/Moccasin
TEXT: When I blog the lesson of universal sight is recalled. (usually 12/14, in letter size). In a haiga, of course, we need simply to ask ourselves if text is aesthetically fitted in well and (crucially) can the words be read. A work in progress until this is addressed, I'd say, if it were my own effort.
Even the old masters needed to be cognizant of their audience's eyesight! Our group is more than a shop window, it's also a learning environment. Don't be concerned about this. When I was at art college the seminars could get pretty hairy when our work was critiqued. But, you get professional about that. The term 'workshopping' is used for this in haikai circles.
http://tinyurl.com/NipponHaiga (check text scales)
IMAGE BRIGHTNESS: Dark images are easily brightened, usually automatically in any photo-editor.
*more notes as they arise. . . .
MEMO
One of the great advantages of workshopping is that, before perhaps making a fool of oneself in public, one can take on board the opinions of others in a friendly, non-public setting. Otherwise, what's the point of workshopping? So, do try to be emotionally mature during, what can be for some, the delicate process of receiving positive criticism.
Do read this group post, it explains much to anyone who is new to the idea and practice of workshopping our cherished offerings: http://www.facebook.com/groups/haigavisualhaiku/224187034327992/
jp
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18-09-11