Thứ Năm, 19 tháng 2, 2009

What Are You Looking At?

As designers, we spend a lot of time crafting our images or graphics, but how much do we really know about how people look at them?

Greg Edwards uses eye tracking technology to understand how our eyes move over computer screens.

He helped create the Advanced Eye Interpretation Project at Stanford University, and is the CEO and founder of Eyetools, Inc. in San Francisco. Most of the work that Dr. Edwards currently does at Eyetools is to help clients understand how to make their websites communicate more effectively through a better understanding of viewer behavior.

The eye tracking tools have come a long way since the first pioneering work decades ago (see GJ post on the 1967 Yarbus eye tracking studies).

A typical basic hardware setup (this example from the lab at University of California San Diego) includes a non-invasive head-mounted system.


With eye tracking technology, scientists can carefully follow the saccades (jumps) and fixations of subject’s eyes as they review text and images on a computer screen. This graphic, sometimes called a scanpath or a gaze trace shows the sequence and position of an individual’s center of attention.


Scientists can also record the gaze behavior of a large group of people to find out what part of the design attracts the eyes the most, creating what’s known as a heatmap. The areas receiving the most attention are indicated in red and yellow. Areas receiving less attention are mapped in blue or dark.

The technology can also record the activity of the hands on the keyboard and mouse and correlate it with the gaze data.

Dr. Edwards and his team at Stanford were able to use this information to infer the mental state of the computer user. They called their technology “the eye interpretation engine.”

You can make basic inferences about mental states from this data. There’s a clear difference between “reading,” “scanning,” and “searching,” for example. Another discovery is that people look at banner ads even though they don't click on them.

As Dr. Edwards puts it, “the eye interpretation engine parses eye-position data into higher-level patterns that can then be used to infer a user's mental state or behavior.”

I asked Dr. Edwards if we can we tell from scanpath data if a subject is just looking at the style of a type font rather than reading the text? He replied:

“We can tell if a graphic designer is looking at the style of a type font or reading because the behavior changes -- looking at the font keeps the eyes localized in areas longer than would be natural as they examine the font, or the eye movement wouldn't be consistent since they would be looking at features of the font as the driving factor rather than the text itself. Now, could someone purposefully fool this to behave as if they were reading while they were actually examining the font? Yes, if one consciously did that. Would it occur naturally? No.”


I also wondered if it is possible develop higher levels of inference about the cognitive behavior behind eye behavior, to know not merely where someone is looking, but what they’re thinking when they’re looking at it.

For example, you might look at this woman’s red jacket and think that it doesn’t fit her right, and I might look at the same red coat and wonder where she bought it.

At the present time, Dr. Edwards told me, we cannot make such conclusions from the data. The purpose of his original patent work was not to determine what people were thinking, but to determine their mental state and current behavior—are they searching, examining, spacing out—which is different from thinking.

“You can see someone initially checking out the lay of the land of an unfamiliar scene, and you can see when they narrow in to focus on particular areas -- these are behavioral shifts that often happen very quickly and unconsciously -- people are not often able to accurate self report these. You can tell these with the scanpath data. You can't tell how they feel without some other means.”

It seems to me that this would be a very interesting area for future research, especially if eye tracking and keyboard/mouse data were combined with functional MRI (fMRI) data, which shows where activity is localized within the brain in real time.
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For more on fMRI data, check out the previous GurneyJourney post on Neuroaesthetics
Eye Interpretation Project, link.
Wikipedia article on eye tracking, link.
Eyetools blog, link.
Thanks to Dr. Edwards.

Thứ Tư, 18 tháng 2, 2009

Kushite King

In an earlier post I mentioned that a good way to develop reference for figure work is to pose yourself in front of a mirror and make a charcoal study on tone paper.



For this National Geographic illustration I needed to show a triumphant Kushite king accepting the homage of vanquished princes in Egypt in 724 BCE.

I first met with the project archaeologist Dr. Timothy Kendall in the basement of the Museum of Fine Arts in Boston. He showed me primary-source drawings of the snake headdress, sandals, wing corselet, and transparent garment worn by Kushite royalty.

I wrapped myself in a sheer curtain to simulate the costume. I set up the tone paper on an easel and acted out the pose, looking at the reflection in a full-length mirror mounted on a door.

Even though I’m not exactly the right type for the character I was portraying, I was only looking for the basic structure of the pose. I could get the Nubian features from other sources.

I recommend the method for three reasons. It’s often faster than shooting photo reference. It gets you immediately away from the photographic look. And it forces you to begin interpreting the pose, making artistic decisions that give your result more coherence and impact.

Mirror studies have always been a favorite method for animators acting out facial expressions and gestures. For faces, you can use a medium sized mirror hung in front of your work table.
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For a previous GJ post on installing a full-length mirror, link.

Here's a selected list of articles I've illustrated for National Geographic:

March 2006 Battle of Hampton Roads
Dec. 1997 Patagonian Dinosaurs
Nov. 1990 Kingdom of Kush
Feb. 1989 Attic Scene
Oct. 1988 Moche, Peru
May 1988 Wool
June 1988 Etruscans
July 1987 Soybeans
June 1987 Eskimos
Aug. 1986 Ulysses
Sept. 1985 Jason
Sept. 1985 Humboldt

Thứ Ba, 17 tháng 2, 2009

Outer Limits of the Pencil

One of the 19 works in the exhibition William Trost Richards: Land and Sea is a landscape drawing that pushes the limit of what’s possible with a pencil.

Executed in the 1860s, early in his career, the work reflects Trost Richards' allegiance to a philosophy of meticulous observation. According to the “New Path,” a statement of the Society of the Advancement of Truth in Art,

“The artist is a telescope…and the best artist is he who has the clearest lens, and so makes you forget that you are looking through him.”


The exhibit spans WTR’s career and includes plein air studies, watercolor and oil seascapes, and some larger oils that showcase his mastery of moisture-rich illuminated atmosphere.

Acting director of the museum Crista A. Detweiler told us that for most visitors Trost Richards is “an eye-opener. ‘How come I’ve never heard of him?’”

The exhibition has been extended through February 22.

Next up at the Arnold Art Gallery is an exhibit exploring academic art training, “Academic Allure: Art and Instruction in Nineteenth-Century Paris," It will be comprised of work borrowed from the Dahesh collection.

From the press release:
The academic exhibition will be on view from March 13 – April 19, 2009. An opening reception will be held on Friday, March 13 from 5-7 p.m. All events are free and open to the public. Gallery hours are Wednesday 5-8 p.m., Thursday and Friday 1 – 4:30 p.m., Saturday and Sunday 11 a.m. – 5 p.m. and by appointment for groups. Schools and other groups are encouraged to contact the Gallery at 717-867-6445 for a guided tour.

In conjunction with the exhibition, Dr. Barbara Anderman, curator of the exhibition, will present a lecture entitled “Politics, Practice, Discipline, Display: The Art of Academic Survival in Nineteenth-Century Paris” on Monday, April 6 at 7 p.m. in Zimmerman Recital Hall. The lecture is free and open to the public.


Trost Richards pencil drawing is courtesy William Varieka Fine Arts, who graciously loaned several works to the exhibition.

Other gallery lenders include Godel and Co. and Questroyal Fine Art in New York City.

Night Class, 1881

Electrical lights were a new-fangled invention when Jehan-Georges Vibert (French, 1840 - 1902) exhibited “A Night Class” (Un atelier de soir) in the Paris Salon of 1881 (See post below for the image). Congratulations to the 8% of you who guessed the right answer.

The artist himself describes the painting this way:
"Under smoldering electric lights, a model in historical costume poses for eager, ambitious art students. A few of them might have real talent, some could become commercial artists, but most, unfortunately, have no future in art at all."

The painting is in the collection of the Cleveland Museum and is not on display.

Cleveland Museum page: link
Biography and works by Vibert, link.
Timeline of the electric light, link.

Thứ Hai, 16 tháng 2, 2009

Night Class Mystery

You’re looking at a picture of a costumed model posing for art students. It's nighttime, and they're working by electric light.



Can you guess when it was painted? Please vote in the poll at left. Answer tomorrow.
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For those coming to my 12:00 talk today "Dinotopia: Behind the Scenes" at Montgomery College in Rockville, Maryland, USA, here are some more details:

Free visitor parking only in lot 13 across Mannakee Street from the college to the left of the Board of Education Building. No ticketing in this lot from 10:00 AM until 3:00 PM, 2/16/09. The Theater Arts Building is at the center of the campus. Contact Professor Ahlstrom at 240-567-7639 Ed.Ahlstrom@montgomerycollege.edu

Chủ Nhật, 15 tháng 2, 2009

Art By Committee: Eye Out

The 15th of the month is the day for our group sketch game called "Art by Committee." I share an actual excerpt from a science fiction manuscript and each week you visualize it.

This month's quote was “I should stay here and keep an eye out.” This is one of those lines you can take literally or figuratively, and the results are surprising and impressive.

Peter Nyberg
Image
Website


Andy Wales
Image/Blog

Roberta Baird
Image
Website

Marisa Bryan
Flickr/Image


Elizabeth Khoo
Image/Blog


Patrick Waugh
Image
Website

Sean Hornoff

Mark Colton
Website

Thomas Nackid
Image
Blog


Kathy Jeffords
Image

Michael Geissler
Website
Image:

Rose Dawson
Image
Blog

Mei-Yi Chun
Website
Image

Dave Harshberger
Image

Rob Hummer
Image

And the one from the original sketchbook.

Next week's quote is:


Have fun! For next time, please scale your JPG to 300 pixels across and please compress it as much as possible. Title it with your name, send it to: jgurneyart(at)yahoo.com, subject line ABC, and let me know in your email the full URL of the link to your blog, website, or larger image file (just one link, please) and please give me the URL, even if you gave it to me before. Please have your entries in by the 12th of March. I'll post the results March 15.

Thứ Sáu, 13 tháng 2, 2009

The Muse and the Marriage

On this Valentine’s Day, I’d like to raise a topic about being an artist and how it affects our relationships with the ones we love.

Blog reader Haylee, an art student, recently wrote me to ask about how an artist balances work with the demands of family life.


First, a couple of slightly depressing quotes:

“Here is a piece of advice worth having. Never let your daughter marry an artist. You will bring her to sorrow if you do…An artist cannot be hampered by family cares. He must be free, able to devote himself entirely to his work.” ---Ernest Meissonier

"If you must economize, be stingy with your wife, your clothes, your food, but never on what will make your pictures better. This may sound almost immoral but in the end if you make better pictures you will make more money and then you can enjoy the food and the clothes and buy your wife a mink coat." --Norman Rockwell

Shucks, guys, say it ain’t so!

I would agree with the general statement that you have to pull out all the stops and do your best work, and both Meissonier’s and Rockwell's legacies are proof of the value of their incredible effort.

Where I would disagree is the idea that the art life has to damage your personal life. Here are some things I would recommend to a young artist who is thinking about balancing the two:

1. Either stay single (like Frederick Lord Leighton or John Singer Sargent) or marry another artist (like Stanhope Forbes) or figure out an unconventional arrangement with fellow artists (The Red Rose Girls). An artist-spouse actually helps deepen your commitment to your work.

Let me hasten to add that there are plenty of happy marriages with sympathetic non-artists. And there are successful relationships where the couple function as a dissimilar team: an artist and a business manager, for example (Frank Frazetta or Andrew Wyeth). Hopefully the partner is someone who is OK with a wildly fluctuating income.

2. Put your studio in your home if it suits your work and temperament. If you have kids, make the studio a place that they're welcome. Then they can be a part of your work life. We used to have a box of Legos next to the painting table.

3. Try to keep normal hours and schedule regular family time off and time for inspiration. This just makes quality and productivity better anyway.


One of the most inspiring examples of an art life wedded to a family life is the Swedish artist Carl Larsson. In his memoirs he reflects that the paintings of his home and family "became the most immediate and lasting part of my life's work. For these pictures are of course a very genuine expression of my personality, of my deepest feelings, of all my limitless love for my wife and children."

I welcome any thoughts you might have, or better yet, comments from your spouse.

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Thanks to Francis Vallejo, who brought this topic up, link.
Thanks, Haylee!, and may you have a happy life, whatever you choose.
And thanks to Jeanette, and love of my life and my sketching buddy.