IMAGE, TEXT, AND GRAPHICS USAGE IN ART HISTORY POWERPOINT LECTURES AT INDIANA UNIVERSITY: A PRELIMIN

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IMAGE, TEXT, AND GRAPHICS USAGE IN ART HISTORY
POWERPOINT LECTURES AT INDIANA UNIVERSITY A
PRELIMINARY STUDY
Eileen Fry Session 9 Navigating Troubled
Waters VRA Miami, 2005
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How and How Often do Faculty use Presentation
Software Functionality for Didactic Purposes in
Digital Art History Lectures? A Study of Faculty
and Associate Instructor Usage of Text, Image
Number, Graphics, Color and Arrangment, Eileen
Fry and Sara Carter Indiana University, Spring,
2005.
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Part One Faculty Usage
Total Faculty surveyed 7 Total Classes
covered 11 Total Screens counted
3,986
The second part of the study Image usage by
Associate Instructors, is being conducted by Sara
Carter. The results of the two studies will be
published jointly.
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Image Usage Study Methodology

• Did not count blank screens, text only
  introductory lectures, reviews, or exams, though
  faculty do interesting things with these
• Verified that the version of the lecture counted
  was the one used in class, or only nominally
  different from the one used in class
• Counted every image, every time it was used, as
  ease of repetition is one of the advantages of
  digital teaching
• Did not count more than two courses for any one
  instructor
• Counted as graphics any use of arrows, lines,
  boxes, or highlights, but not colored backgrounds
  or fonts

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IMAGE/TEXT RELATIONSHIPS

• TERMS
• TEXT ONLY
• IMAGE ONLY
• IMAGE AND TEXT

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CameroonLecture 4
EXAMPLE TEXT ONLY

• Words for midterm
• Kwifo
• Bandjoun
• Msop
• Kuosi

• Words for spelling
• Nja

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EXAMPLE iMAGE ONLY
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EXAMPLE IMAGE AND TEXT
Still Life on Pedestal Table 1931
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SURVEY RESULT 85 OF TOTAL SCREENS USED IMAGES
WITH TEXT
IMAGE(S) ONLY - 12 TEXT ONLY -
4 IMAGES WITH TEXT - 85
Based on 3,986 Total Screens
(Percentages rounded)
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IMAGE / NUMBER RELATIONSHIPS

• TERMS
• SINGLE IMAGE
• COMPARISON
• REFERENCE COMPARISON
• MULTIPLE IMAGES

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EXAMPLE SINGLE IMAGE
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SCULPTED PORTRAITS IDENTIFIED AS ALEXANDER THE
GREAT
Pella
London
Athens
Athens
Copenhagen
Pergamon
EXAMPLE MULTIPLE IMAGES
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Seeing double New ways of eye travel
EXAMPLE COMPARISON (TRADITIONAL DIDACTIC IMAGE
USAGE)
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. And new perspectives on Paris
EXAMPLE REFERENCE COMPARISON (SMALL SIZE
REPETITION OF PREVIOUSLY SHOWN IMAGE)
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SURVEY RESULTS 70 OF SCREENS DID NOT USE
SIDE-BY-SIDE COMPARISONS
SINGLE IMAGE - 40 MULTIPLE IMAGES -
27 COMPARISON - 29 REFERENCE
COMP. - 2 (Text Only)
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Based on 3,986 Total Screens Percentages
rounded
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IMAGE TYPES AND THEIR USAGE

• TERMS
• OBJECT
• BUILT ENVIRONMENT
• DIDACTIC MATERIAL

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Albrecht Dürer, Last Supper, 1523. Woodcut.
Example Object
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Example Built Environment
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Map of the empire of Ur-Nammu and the Third
Dynasty of Ur, c. 2250-2000 BC
Example Didactic Material
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SURVEY RESULTS Nearly 20 of images used are
Didactic Material
OBJECTS - 70 BUILT
ENVIRONMENT - 11 DIDACTIC MATERIAL - 17
Based on 3,986 Total Screens Percentages
Rounded
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USE OF GRAPHICS
BOXES, BORDERS, ARROWS, LINES, FILL COLOR,
FREE-DRAWN HIGHLIGHTS
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USER GENERATED GRAPHICS
USE OF FREE DRAW, FILL COLOR TRANSPARENCY
USE OF ARROWS
USE OF DRAWING TOOLS
EXAMPLE OF USER-GENERATED GRAPHICS
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SURVEY RESULTS GRAPHICS USAGE RANGES FROM 0-13

• POPULAR FOR EXPLAINING DIFFICULT SUBJECTS
• POPULAR FOR SURVEY AND SITE-ORIENTED CLASSES
• MANY DONT KNOW HOW TO DO THIS YET
• USAGE INCREASES WITH EXPERTISE

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POWERPOINT EMPOWERMENT

• THE MOST CRITICAL FACTORS IN FACULTY SUCCESS
  USING POWERPOINT ARE
• LEARNING 10 EASY STEPS TO MAKE IMAGES LOOK GOOD
  IN POWERPOINT
• MAKING THE LEAP FROM
• WHAT SLIDES COME NEXT TO
• WHAT POINT AM I MAKING HERE AND THEN TO
• WHAT WILL BEST MAKE THAT POINT

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• GIVE THEM BASIC, SPECIFIC, PERSONAL INSTRUCTION
• GIVE THEM IDEAS OF WHAT OTHERS HAVE DONE
• TURN THEM LOOSE AND SEE WHAT THEY CHOOSE TO DO
• (A SAMPLING OF THE SCREENS COUNTED IN THE SURVEY)

(Images have been compressed for this published
version of the original presentation)
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Basic Daguerrean Cameras based on Cam Obscura
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Postmortem (a thriving subspecialty of the dag
trade this one is Belgian, by Charles Durheim,
c. 1852
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Eugene Delacroix, View of Tangiers, 1856
Jean-Antoine Gros, Murat Defeating the Turks At
Aboukir, 1805-6
PascalSebah, People Climbing the Pyramids, c.
1880
Francis Frith, Pyramids at Giza, c. 1857
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Pierson, The Countess Mathilde, c. 1863-66
Original photo showing beginning
of Retouching/transformation process
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Nanna?
priests
Ningal or high priestess
Ur, limestone placque showing priests making
offerings to Nanna (above) and possibly to Ningal
(below) at a temple, c. 2500-2300 BC, 26 x 23 cm
(British Museum)
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Ur, ziggurat of Ur-Nammu, c. 2200 BC, current
state, partially reconstructed, (top) and
reconstruction
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Qayrawan, Tunisia, Great Mosque, aerial view and
plan, c. 836-875
hypostyle hall
minaret
mihrab
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Al-Masjid al-Haram layout, today
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Olmec carved head
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Copan
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Maya sculpture depicting bloodletting rituals
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(No Transcript)
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Reformation Counter-Reformation
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Caterina van Hemessen, Self-Portrait, 1548.
Panel.
Sophonisba Anguissola, Self-Portrait at the
Easel, n.d. Oil on canvas.
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Leonardo da Vinci, Mona Lisa, ca. 1503-1505. Oil
on wood.
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Dean Rohrer, cover for Woman of the Year, New
Yorker, 1999.
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Leonardo da Vinci Virgin and Child with Saint
Anne and the Infant Saint John ca.
1505-1507 charcoal on paper
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Leonardo da Vinci Last Supper refectory of Santa
Maria delle Grazie ca. 1495-1498. Fresco.
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Leonardo da Vinci Last Supper
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Painting cycle of Hellenistic royal subjects,
Roman Villa at Boscoreale (near Pompeii)
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Plato (427-347 BC.), mid 4th century BC
Antisthenes (450-370 BC.), 3rd century BC
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Arena
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(No Transcript)
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TRIUMPHAL ROUTE
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(No Transcript)
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(No Transcript)
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(No Transcript)
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émail en ronde bosse
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X-radiograph of central panel of Norfolk
triptych, , Christ as the Man of Sorrows, with a
multitude of Saints, by South Netherlandish or
Mosan (Liège ?) artist, c.1415-20
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Martos, Monument to Minin and Pozharskii (Moscow,
Red Square) 1804-1818 Minin and Pozharskii
rallied the Russian people against invasion from
Poland early in the 1600s. As the monument was
developed and reworked, more emphasis was placed
on the figure of Minin (shown standing, arm
raised) a man of the people, as opposed to the
aristocrat Pozharskii Figures resemble antique
heroes however, Minin wears trousers under his
tunic.
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Korneev, Plate from Les Peuples de la Russie
The Peoples of Russia 1812-13
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Left porcelain figure of peasant boy, c.
1810 Right Vase from Imperial Porcelain Factory
1819
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Catherine the Great Encouraging Art and
Protecting Commerce, c. 1783
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(No Transcript)
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Albert Bierstadt, 1830-1902
Bierstadt, oil sketches done on 1859 survey
expedition Native Americans, grizzlies, and
Nebraska Territory, Wasatch Mountains
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Albert Bierstadt, Valley of the Yosemite, 1864
Timothy OSullivan, Pahutes, Pyramid Lake, 1868
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Carleton Watkins, Mirror Lake, c. 1870-75
Bierstadt, Looking down Yosemite
William Henry Jackson Old Faithful 1872
Bierstadt, Geyser, Yellowstone, 1881
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Moran, Grand Canyon of the Yellowstone,
1893-1901. 8 x 14 feet Bought by US Congress.
Yellowstone became national park in 1872
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METHODS OF TECHNICAL EXAMINATION

• Scrutiny of entire object
• Measuring
• Stereomicroscopic study
• Raking Light
• Transmitted light
• Ultraviolet fluorescence
• Spectroscopy, XRF, etc.
• Infrared techniques
• X-radiography
• Sampling
• Microscopy
• Cross-sectioning
• Laboratory testing

• Surface examination
• Penetrating forms of examination
• Point examination

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4.2 x
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Water and mordant gilding in the Master of the
Saint Ursula Legend, Fogg Art Museum black
arrows point to mordant yellow arrow points to
the ground under the water gilding.
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Preparing a cross-section
b. placement of sample
a. ½ filled with a transparent plastic
c. sample covered
d. Sectioning of sample
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Caricature of Sargents Portrait, Salon of 1879
(Le Journal Amusant, July 5, 1879)
Sargent, Portrait of (his teacher) Carolus-Duran,
1879
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Sargent, Madame X (Virginie Gautreau), 1884
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Madame X Wannabes
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Mrs. Adrian Iselin, 1888
Mrs. Kate Moore, 1884
Elsie Parker, 1889
Mrs. Thursby, 1897
Helen Dunham, 1892
Lady Agnew, 1892
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Giorgione (and/or Titian?), Pastoral Symphony,
ca. 1508. Oil on canvas.
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Titian, Bacchanal at Andros, 1523-1525. Oil on
canvas.
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Titian, Bacchanal at Andros, 1523-1525. Oil on
canvas.
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Titian, Isabella dEste 1534-1536, oil on canvas
Leonardo da Vinci, Isabella dEste 1500, chalk on
paper
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(No Transcript)
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Bamum kingdom, Cameroon Male Mask Wood, fiber,
pigment
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(No Transcript)
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Bamileke peoples, Cameroon Kuosi Society Elephant
Masquerader
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Below Kuba cup, DRC Right Kuba king in regalia,
DRC
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Engraving of King Mbunza, the Mangbetu ruler in
1870
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(No Transcript)
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Portrait of Olga 1917
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Photographs of Marie-Thérèse Walter 1927-1935
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Bather 1930
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Praying Mantises
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Below The Living and Dead Lady (another
Vanitas image)
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LAtelier 1934 Indiana University Art Museum
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PORTRAIT ICONOGRAPHY
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ALEXANDERS CONQUESTS
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AZARA HERM ALEXANDER SON OF PHILIP
When Lysippos had finished his first Alexander
looking up with his face turned towards the sky
(just as he was accustomed to look, tilting his
head slightly to one side), someone not
inappropriately inscribed the following epigram
This statue seems to look at Zeus and say Keep
thou Olympos me let the earth obey. Wherefore
Alexander gave orders that Lysippos alone should
make his sculpted portrait. For only he, it
seemed, brought out Alexanders real character in
the bronze and gave form to his essential
excellence. For the others, in their eagerness
to represent his crooked neck and his melting and
limpid eyes, were unable to preserve his virile
and leonine demeanor. PLUTARCH
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SCULPTED PORTRAITS IDENTIFIED AS ALEXANDER THE
GREAT
Pella
London
Athens
Athens
Copenhagen
Pergamon
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STATUE FORMATS AND ROLES
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RUNNER FOUND OFF THE COAST OF KYME (IZMIR)
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(No Transcript)
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(No Transcript)
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THE CLASSICAL DIONYSOS
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APHRODITE OF MELOS (VENUS DE MILO)
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VENUS KALLIPYGOS (BEAUTIFUL BUTTOCKS
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SO WHY IS THIS ALL PEOPLE THINK POWERPOINT CAN
DO?
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(and why do Art Historians think this is all They
can do?)
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(No Transcript)
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WHY MY FACULTY LIKE POWERPOINT

• THEY ENJOY DOING IT
• THE STUDENTS LOVE IT
• EVERYONE HAS IT
• ITS BI-PLATFORM
• ITS INFINITELY ADAPTABLE
• ITS FREE

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• ITS EFFECTIVE FOR EVEN A NOVICE USER
• IT ALLOWS FULL UTILIZATION OF THE RICHNESS OF THE
  WEB AND LOCAL OR LICENSED RESOURCES
• IT GUARANTEES THAT EFFORT CAN BE SAVED AND REUSED

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IF I CANT DOWNLOAD IT AND PUT IT IN POWERPOINT,
ITS OF NO USE TO ME Prof. Kevin Glowacki
Image from http//icon.stoa.org/
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WHAT MY FACULTY DONT LIKE ABOUT POWERPOINT

• It can appear static
• No realtime changes or effects
• Difficulty of using horizontal comparisons
• Size of lectures often exceeds Courseware limits
  on attachment size

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• MOST COMPLAINTS, HOWEVER, ARE ABOUT
• CLASSROOM TECHNOLOGY
• COURSEWARE SIZE LIMITS
• DIFFICULTIES IN FINDING GOOD IMAGES.

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WHY OTHER FACULTY MAY HATE POWERPOINT

• THEY HAVENT BEEN GIVEN SPECIFIC INSTRUCTIONS
  FOR IMAGE POWERPOINT
• THEY THINK THEY HAVE TO USE A TEMPLATE
• THEY THINK THEY HAVE TO USE ALL THE TRICKS THEY
  TEACH YOU FOR WORD POWERPOINT
• IT DOESNT FAVOR THE TRADITIONAL SLIDE
  PRESENTATION METHODS

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HOW TO CHANGE HATE TO LOVE

• SHOW THEM HOW TO GET A BLANK PRESENTATION
• SHOW THEM THE PICTURE TOOLBAR
• SHOW THEM HOW TO MAKE THE BACKGROUND BLACK
• SHOW THEM HOW TO INSERT AND PROPERLY SIZE IMAGES
• SHOW THEM HOW TO USE TEXT BOXES AND GRAPHICS
• HELP THEM GET GOOD IMAGES TO START WITH
• SHOW THEM EXAMPLES OF WHAT OTHERS HAVE DONE

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MY THANKS TO INDIANA UNIVERSITY PROFESSORS JOHN
BOWLES SARAH BURNS DEBORAH DELYIANNIS MOLLY
FARIES JANET KENNEDY DIANE PELRINE JULIE VAN
VOORHIS KEVIN GLOWACKI
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APPENDIX

• TEN BASIC RULES FOR MAKING IMAGES LOOK GOOD IN
  POWERPOINT
• Dont use any of pre-designed templates. USE A
  BLANK PRESENTATION AND A BLANK LAYOUT
• Use a dark or black background. Most images look
  best against black. Use FORMAT BACKGROUND- APPLY
  TO ALL- to do this. Black is not one of the
  popular colors, so go to more to find it.
• To make a text box, click on the icon AND THEN
  DRAW A BOX AND START TYPING. The box will expand
  to include whatever you put in. You can change
  size, color, and style of text as you do with
  Microsoft Word. You can make the boxes colored by
  using the fill bucket.
• Use a color for your text that will work on
  either black or white backgrounds, like red,
  bright green, bright blue. Dont use fancy
  fonts, as other computers may not display them.
  Stick to Arial, Times New Roman, etc. Plain,
  sans serif fonts

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• BASIC RULES FOR MAKING IMAGES LOOK GOOD IN
  POWERPOINT
• Start with the best and biggest images you can as
  LONG AS THEY ARE JPGS. Dont use tiff images in
  Powerpoint, as they can cause the program to slow
  down or freeze.
• You can make a big image smaller by grabbing a
  corner and moving it. Be sure to use the corner.
  Moving the top, bottom, or sides will change the
  aspect ratio of your image and make it look
  distorted, but DONT MAKE SMALL IMAGES BIGGER
  THAN THEY ACTUALLY ARE. This will make them very
  fuzzy. The exception is that sometimes very
  large images will be inserted at postage-stamp
  size. These you have to enlarge. When in doubt
  about whether an image will look good when
  projected, use your Slideshow icon to see how it
  will look to your viewers
• You can make many types of corrections to images
  in Powerpoint, cropping, brightening, some color
  improvement, etc. But you cant sharpen an image
  in Powerpoint. For that you have to use
  something like Photoshop, or Googles new Picassa
  2.

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• You can put any number of images on the same
  screen. Try to think about the points you
  actually want to make and create a screen that
  works best for each point single big images for
  important pieces, multiple images for concepts,
  big or mutiple details, quotes, graphics to
  highlight particular areas, etc. As side-by-side
  horizontal comparisons are the most difficult
  thing to do with a single data projector, use
  those only when you are making true comparative
  points.
• You can repeat screens as needed. You can repeat
  elements in screens as needed. You can use
  INSERT FROM FILE to pull in screens you have
  created in other presentations and modify them
• 10) Dont be afraid to be creative with size,
  number and arrangement, but also watch out for
  screens that are too cluttered. Focus on the
  point you are making and the image itself. For
  large venues, like conferences, use large images
  and simple screens. You cant count on having
  more than ½ the screen size you are used to