Appendix

A Cosmic Knot

A contemporary interpretation and exploration of the knot as a mystical and spiritual symbol — by John Dilworth

This project contains the text of my thesis project for my MFA degree at Academy of Art Univeristy. The project included an interactive media component that is no longer available. The artwork, concept, story and process are included in this document.
The following pages include my written thesis project which outlines the intention and process of developing the techinques, designs, and resulting artwork.

This edition is a partial re-construction of this project in online form to share the artwork and learning during the process. It has been modified slightly since it's original publication in 2008.

Artist Profile

I was born and raised in Burley, a small town in southern Idaho. My father was a printer by trade, and a painter in his free time. My mother was an elementary school teacher. Both of them encouraged me in the fine arts from a young age.

As early as the 5th grade I was given access to an Apple II computer where I set about learning to program. Since then I’ve been intrigued about using the computer as a tool to create art. This duality of interests—on one side, an interest in science, technology and computers, and on the other side, an interest in the fine arts—guided many of the choices I made. In high school and college I witnessed the computer become the primary tool of the Graphic Design industry.

I obtained a Bachelor of Fine Arts in Visual Communications from Weber State University, where I was inspired by a progressive faculty who had embraced the idea of the computer as an art making tool. After college, I secured a job working for an international technology company, where I produced multimedia CD-ROM applications. I continued this work, expanding from CD-ROMs apps into web design and development. After 10 years of commercial design work, I felt a desire to get back in touch with my artistic interests.

In the fall of 2005, I began to pursue a Master of Fine Arts in Computer Arts at the Academy of Art in San Francisco. My work at the Academy of Art has let me explore my own artistic ideas, helping me expand my skills and knowledge in the field of n...

Project Overview

The Cosmic Knot is a contemporary interpretation and exploration of the knot as a mystical and spiritual symbol. The symbolism of the knot is explored through a series of original digital art compositions. Each work of art emphasizes the symbolic nature of the knot and its mystical significance. The composition is sewn together in a web site, allowing viewers to explore the images, text, and details in a contemporary medium.

Visitors are encouraged to contribute to the work, creating a collective knot composed of the unique stories of individuals from around the world. Just like a knot in a string is a device which connects and secures one thing to another, the symbol of the knot represents the secure connection between our humanity and our spiritual nature. The Cosmic Knot also represents the union of chaos and order. The line itself represents chaos.

It exists, yet without a connection, it serves no purpose. When this same line is woven and connected upon the principles of geometric symmetry (representing eternal truths), the knot which forms becomes a beautiful symbol of our connection to a divine purpose. In addition to the over-arching theme of the knot, the project also includes several sub-themes, including the connections between chaos and order, between classical and contemporary, between organic and structured, and between the computer and the human being. This project summary tells the story of the whole development of the project, from concep...

Timeline

Fall 2005 — I begin work at the Academy of Art University

Summer 2006 — Concept development

Spring 2007 — midpoint review

Summer 2007 — Project definition & research (directed study) Sacred Geometry (directed study)

Fall 2007 — Development of graphic design (directed study) Development of illustration style (directed study)

Spring 2008 — Development of programming/scripting (directed study) Continued development of illustrations & final graphic design Narrative development

Summer 2008 — Scripting (ActionScript 3.0) Continued development of graphics & programming

Fall 2008 — ActionScript 3.0 (group directed study) Converted project to ActionScript 3.0 Final design, illustration, & programming Final usability testing Final review (Dec. 11, 2008)

An early original knot design, created in 2002, celebrating the 7th anniversary of our marriage.

Background

I first became fascinated by the intricate geometric details of the decorative artwork found in Medieval and Renaissance art during a trip to Europe in 1997. The Celtic tradition of knot-work in manuscripts and relief sculpture inspired me to attempt to develop my own patterns and ornamental designs for my artwork. The process of learning a craft alone is not easy. I struggled as I worked on my own to discover how I might draw a knot.

This process of learning became symbolic of the knot itself: I was trying to untie a secret which was hidden from me. As I worked on this problem, the symbol of the knot became very personal to me. It became a symbol of my struggles, my successes, and my view of life as a whole. Years later, after deciding to pursue an MFA at the Academy of Art University in San Francisco, I began to think about possibilities for my MFA project.

Almost as an afterthought, I threw the idea of exploring the symbolism of the knot into the mix. Although I wasn’t sure what potential it would hold, I was still interested and intrigued at the thought of exploring something which had become connected to me. Bud Peen, my advisor at the Academy of Art University, helped me to visualize some of the possibilities, and encouraged me to pursue a route which was more artistic and more personal than the other ideas which I had presented. My fascination with knots quickly re-surfaced, and I found myself energized and excited to tackle the topic.

I found plenty o...

Midpoint

As I collected information and tried to mold it into a cohesive project, I found myself excited and at the same time hopeful that I could pull something off that would express the ideas that were floating around in my head. As I researched the topic, I found very little direct information. There were plenty of historic examples of the knot, but very little in terms of addressing the symbolism of the knot. This increased the challenge, but also increased my excitement to develop these ideas according to my own creativity.

The preparation of my midpoint proposal allowed me to explore different aspects of the knot and the potential symbolisms which might arise from it. The proposal provided a basis and a theory, proving that there was sufficient information and historical precedent to make it an interesting topic. This preparation, however, did very little to define the creative route and final incarnation that my project would take to successfully communicate my ideas. At the midpoint review, Mark Badger, a member of the review, board made a comment which drastically changed my thinking about the project and where I needed to go with it.

He told me (not in these exact words) that he felt that I was reserving something, that I had presented the basis of an interesting work, but that I had left the soul out of it. This was not the result I had hoped for, I wanted to express something personal, fascinating, and mysterious. I realized that I had mainly presented a pla...

The Soul of the Project

Even though I felt that my midpoint presentation was successful, I left San Francisco a little bit empty. I had an unsettling impression that I didn’t quite hit the mark. In between semesters, I embarked on a bit of soul searching to find a way to make the project my own. How could I make it personal?

How could I convey not just the ideas, but the feelings that I’d developed over time? How could I make the project an exploration of original art, and not just a rehash of materials created by others?

Exiting the commercial business world and diving into the world of fine art was not as easy as I had hoped. It was difficult to shed years of corporate stifling. Coming up with creative ideas for my project proved to be a challenge. I sought direction from friends, past advisors, and professors, hoping to rekindle a bit of the creative spark that I felt I once had.

As I attempted to work things out, I realized that rather than telling about the interesting facts that I had found out about knots I needed to find a way to explore the things that I hadn’t found out. This became the soul of the project—the need to express the mystery and spiritual symbolism of the knot, without killing those ideas with boring facts and historical examples. I needed to look at the concept from within, not from the outside. With this shift in thinking, I felt free to explore the topic as a fine art project.

I needed to tell a personal story using my art and design as the ve...

Project Definition and Research

As a first step towards refining my concept, I engaged in directed study with Kathleen Watson. My goal was to produce a clear and detailed outline for my final project. I needed to put the ideas and direction that I had conceptualized into an achievable plan. To accomplish this, I was guided to create documentation that would outline the details of the project.

This documentation included the project performance and requirements document, an audience definition, and information architecture reports. Each of these documents helped to refine my thinking, bringing the project from a conceptual state to a working reality. The conceptual ideas and loose narrative that I had worked out in my head (and in rough sketch form) were outlined in detail. I identified personal goals, audience and stake holder needs, project constraints, and usability objectives, setting the stage for the further details of the project.

Defining the Audience

The Depth of Design — target depth for the Cosmic Knot centers on shared human experience and the spiritual and metaphysical.

As I started the project, I honestly thought very little about the target audience. I had chosen a concept which was based on personal interest, and I had no idea if anyone would care about it other than me. I was making the project for myself and had trouble identifying a specific audience to be the recipient of my work. At the same time, I knew that ultimately the value of an identified audience would help immensely in the formulation and usability of the end product.

To aid in this process, the conceptual model of spiritual targeting was developed. The idea of spiritual targeting takes a different approach to find the target audience. Rather than looking first at the audience, the model looks to find the deepest commonalities between the audience and the designed product. These commonalities are defined as layers of depth.

These depths range from the individual tastes to the deepest connections of human experience and spirituality. The target depth for my project centered around our shared human experiences, and the spiritual and metaphysical. Targeting at this depth meant that design decisions would be based on themes, ideas, and perspectives that related to those topics. personal preference social influences cultural and re...

Information Architecture & Navigation

With the project goals defined and the target audience identified, I was able to begin assembling the project. The information architecture report provides details concerning the content of the project, navigation schemes and methods, and the work that would need to be accomplished over the next year. I identified the themes, symbolisms, historical examples, and research that I would need to gather to successfully craft my ideas. The information architecture report also identifies the main components of the project: the Story and the Collective Knot.

The Story would contain my artwork in a visual narrative. The Collective Knot would provide a social aspect to the project, allowing others to contribute.

The Narrative

The story expressed in the Cosmic Knot narrative would explore the knot through a series of original images, each representing a different interpretation or aspect of the symbolism of the knot. The narrative begins at the creation of the universe and ends—or cycles—at physical death. These images would be developed as original digital compositions created using Adobe Photoshop. The images would be created at high resolution, 24” x 30”, allowing them to be individually printed and framed in a traditional manner.

An interactive environment would also be created to allow the images to be viewed online, providing an environment for visitors to explore details of the work and the symbolism incorporated into each image.

Nine high resolution print and digital art pieces were created to accompany the story — the intent was to create a digital work that didn't feel like current trends in digital art, while incorporating traditional methods, messages, and elements.

The Collective Knot

The Collective Knot provides a way for an important symbolic idea to be communicated through the interactive portion of the web site. Visitors would contribute content to the project by leaving their own stories. These stories would be added to a growing knot tessellation, symbolizing the connections between us all.

An interactive experience allowing people to add their story to the knot. Individuals visiting the site would browse stories left by others and make their own contributions to the network.

A Plan for Simplicity and Usability

Usability was identified as a critical component for success. The interactions would need to be clear, smooth, and simple to create the optimal viewing experience and to contribute to the mood of the project. Constant iterative user testing involving the target audience would take place over the entire development of the project. A preview launch of the web site was also executed to evaluate the project as a whole.

I had several close contacts within my target audience who would be called on during the project’s development to ensure usability and understanding of the project’s intention. These usability sessions and peer reviews would take place on a regular basis at each step of the process. I also planned to share the development of my project through my personal web site, which would provide me with immediate feedback on my work, as well as gathering interest in my topic from across the Internet.

Design Rationale

When I had completed my midpoint review, I thought I had a very good understanding of what would be the graphic design style of my project. I had been drawn to historical examples, and had planned to give the work a vintage and antiqued appearance using weathering textures, and techniques. I even explored techniques of tea and coffee staining to get the right look on paper and textures. As I began a semester of directed study with Matt Cooke to solve this question of the graphic design and typographic style for my project, I engaged in a survey of typography readings and exploration of styles throughout history.

The output of this process, and my other explorations in graphic design, led to the development of a design rationale that defined the hypothesis and major considerations that I would use. This vintage style which I had started with would soon disappear in favor of a more contemporary style.

The design rationale included three main emphases. First, the project would implement Classical & Renaissance considerations of form to aid in the communication of the project’s historical, mystical, and spiritual elements. Second, the typography and other design elements would be carefully selected and developed to create a contemporary interpretation of these historical elements. Third, the medium of the computer would be an effective tool to communicate ideas that are spiritual in nature.

Classical Considerations of Form and Beauty

The theme and content of my thesis project provide an opportunity to explore the classical form of design as it might relate to new media. I believe that there are many methods from Classical art and design which are applicable. Many classical principles, such as using geometric construction, develop an overall harmony of design and are especially suited to web design. However, they are rarely considered.

The design of the Cosmic Knot would attempt to show how these classical considerations can be implemented in the new environments, and to show how a purely digital project can manifest itself in the classic form of the book and the fine art print. From a design perspective, the Cosmic Knot would attempt to answer the question, What is the equivalent of the “Fine Book” on the web?

Each knot contains its own geometric construction which defines its symmetry and appearance.

The Geometry of the Knot

During the semester when I began to define the project, I enrolled in Mark Reynold’s course on Sacred Geometry. The subject matter of the course really helped me to understand and expand upon the symbolism of the knot. Mark’s course provided fundamental background and skill in geometry, which enriched the overall design and significance of my project. The concepts of unity and harmony became core elements in the design and synthesis of my work.

An accelerated summer semester’s work in sacred geometry helped me to improve the precision of my work. As I worked through concepts of geometric drawing, I also found that many of the basic principles and techniques applied to the creation of the knot symbol. The knot is essentially a complex version of any regular geometric form, the main variation being that of a line which cannot be drawn with a compass and ruler. More importantly, the course’s focus on the sacred helped me to understand the possibilities of symbolism and spirituality in artwork.

This emphasis also helped me conceptualize ways to incorporate geometric designs that would add to the meaning and depth of my work. The influence of this course can be found

throughout my project. The knot symbols are designed from geometric constructions whose numeric significance adds to the work. Each illustration is designed on a common grid, creating harmony and consistency. Tessellation and pattern are used to fill space and create interest, adding to ...

The Grid

To implement the idea of Classical form, a flexible grid was created for the project based on the square root of phi. This proportion and grid would define the structure of both the digital illustrations and the graphic design within the project.

Spiritual Beauty

As I worked through the development of the images, it was important that each composition contain spiritual beauty— something beyond the surface, the colors, and the textures—that would connect with the viewer. This self-imposed requirement helped me make a personal connection to each composition and element of the story. For the project to be successful, I knew that I had to do more than just create technically accurate and aesthetically beautiful designs. I would need to somehow infuse my own experiences, thoughts, and dreams into the work.

This exploration revealed to me that beauty is about much more than just the superficial elements. In the same way that beauty is revealed in the physical appearance of things, there is another beauty that occurs when a deep personal connection is made. This positive connection to an object or work of art, which is not dependent on its physical characteristics, is spiritual beauty. Each composition was developed to portray a theme intended to elicit deep spiritual feelings from the viewer.

Content would not be designed literally, but rather metaphorically, with symbolism and details intended to help the viewer engage in spiritual or mystical thought. I wanted my artwork and designs to be successful according to fine art principles, but I also wanted them to express deep feelings about spiritual themes and experiences.

Tradition and Typography

The overall design must be clean and simple while providing a balance to the chaotic, bright, and energetic motion found in the illustrations. It must allow the viewer to be transported into the work, allowing them to become engaged and interested without being distracted by interface elements such as navigation and controls. The project must also be easy to use and simple in its navigation conventions.

Tradition is fused into the project by incorporating elements of the past into a new media environment. The illustrations provide references to the past and to artistic traditions of the modern era—elements of Renaissance painting are combined with contemporary ideas and methodologies. Strong adherence to geometric constructions, compositions, and patterns also bring tradition into the work.

The viewer of the work must sense the influences of the past, but at the same time, the viewer must unmistakably know that the work is contemporary. This idea of looking to the past for influence while creating a contemporary work would become a major influence in the graphic style of the project. Stanley Morison, a 20th century typographer, described this idea as:

“…the reconciliation of the old craft with the modern spirit.”

— Stanley Morison

Jonathan Barnbrook, a contemporary type designer, provides some excellent typefaces and a philosophy that support the idea of fusing classical and historical elements with modern ideas. He talks about his proces...

The Computer as a Spiritual Medium

Perhaps the most important aspect of the design rationale is the use of the computer as a tool to communicate ideas that are spiritual in nature. The computer is often perceived as a technological tool for communicating information. It is not, however, seen as a material from which art is produced. My desire was to address themes of spirituality and mysticism directly, allowing visitors to the site to engage with the work rather than allowing them to view something through the window of the computer.

The design of the project, the illustrations and the interactions, would all be finely tuned to support the themes addressed in the project.

Inspiration

My project was inspired by art and design from artists and designers throughout history. Notables include: Albrecht Dürer, Luca Pacioli, Aldus Manutius, Geofroy Tory, William Morris, Eric Gill, Stanley Morison, and Jonathan Barnbrook.

The Development of a Digital Style

Over the course of my education at the Academy of Art University, I’ve been able to refine and further develop a unique digital illustration style. The computer is a tool that is very good at creating precise line and geometries, smooth gradients, and perfectly flat and even colors. The computer is also very capable of being used to create organic and fluid styles. The over-arching concept of chaos and order found within the knot inspired me to develop a style that would exhibit this chaotic element of the knot.

Scribblism

The illustrations found in the Cosmic Knot project are all created in Adobe Photoshop using only one tool. Each composition is developed using photos, drawings, and patterns scanned into the computer. The compositions are then colored using only the air-brush tool set from 1-5 pixels in diameter. The style and technique attempts to produce images that have the

structure, geometry, and precision of classical art combined with the energy, color, and looseness of a contemporary work. The style is produced literally by scribbling layer after layer of color. The style complements the precise geometric style of the knots, and adds another dimension to the idea of the knot, as part of the universal fiber linking everything together. The technique also works well for creating dynamic light, where the colors and light in the work create an atmosphere throughout the composition.

Sketching the Project

In addition to the development of style, I defined the complete body of work, along with color, composition, and theme. Sketches for each of the nine narrative images were created. Several rounds of refinement happened during the sketching phase. This gave me confidence in the body of work as a whole, and allowed me to think of each upcoming work over time.

The sketches allowed me to work out the harmony of the whole set, and helped me envision how the project would take shape.

Inspirations

The illustration work and style in the Cosmic Knot project were influenced by various artists throughout history. These artists include: Paul Klee, Mark Chagall, Remedios Varo, Elihu Vedder, William Blake and Jackson Pollock.

Adobe Flash

I‘ve always been fascinated with the computer as a story telling device. Even though the role of an artist as programmer is an argument that will likely be debated for years, I enjoy getting as deep into the craft as I can, and was excited to explore elements of design that are only possible on the computer. A Cosmic Knot would not only be an exploration of symbolism, art, and design, it would be a study of the computer as a story-telling medium.

Adobe Flash was chosen as the primary scripting platform for the project. I brought several years of Flash experience with me to the Academy, and would use this knowledge and new techniques to produce the project. There is no doubt that keeping up with technologies is a challenge for the computer artist. I first learned Flash in 1996, when it was released as the Future Splash Player.

I learned and developed with nearly every version of Flash since then, but I never had what I thought was a professional handle on the product. The courses at the Academy gave me the opportunity to study those tools in a structured environment, and gave me a solid background to confidently produce my final project. During my term at the Academy, I saw three new versions of Flash and a migration of the Flash scripting language (ActionScript) to a new version.

Version	Date
Flash 8	September 2005
Flash CS3	April 2007
Flash CS4	October 2008
ActionScript 2.0 → ActionScript 3.0

Server Programming

To complete other objectives within my project, I would also need to learn and create server-based programming. This would allow visitors to input and save information to the website. I chose to explore Ruby on Rails, a relatively new and popular programming language for serverside programming of web applications. A complete web site would be built to host the project.

It would contain features which would allow me to manage content, receive comments, and publish news and events about my project and artwork beyond just my term as a student at the

university. The web application framework created for this project, while nearly invisible, represents a major portion of my work, and my abilities have expanded greatly over the past three years.

Interaction Style

As I designed my project, I explored several variations and possible interactions. The content and themes in my project required a more subtle approach to interactivity than most contemporary content. I would need transitions that moved slower, subtler color effects, and navigation schemes that would not compete with the work or distract the visitor. This style of interaction is almost the opposite of most Flash sites on the Internet today.

There is a focus on speed, quickness, loud rhythms, etc. I needed to create an interface that would allow intuitive navigation and exploration of the content without distracting from the content itself. The Cosmic Knot project needed to be about the content, not about how it would be navigated.

• Single-level navigation provides access to main site areas.
• Title and page status with controls help the user see the current location.
• Full-screen mode offers an enhanced viewing experience and atmosphere.
• Plus and minus controls enable the user to discover more.
• Mouse click and arrow keys are also enabled.
• Simple forward/back controls allow easy navigation between images.

Summary

The completed project stands as a final representation of three years of work at the Academy of Art University. It also represents three years of personal sacrifice, accelerated personal growth as an artist, and a personal struggle to create an enduring fine art project using a medium dominated by the ephemeral. I believe the project to be successful in many regards. I feel that the artistic interpretation of the project has opened many possibilities for me as an artist.

Not only have I refined my technical skill in the tools of the trade, but I have been able to create a unique work of art representing my deepest thoughts and feelings. The online aspect of the project uniquely showcases the work in a way I have not seen before. The artwork is not shown in the typical form of a web gallery. Instead it becomes an integrated experience.

The technical aspects are carefully crafted to cater to the work. There are unseen subtleties that took many hours to solve. These will likely go unrecognized by visitors, but I am confident that they will make a difference in the user’s experience with my work. The project effectively demonstrates the flexibility of the computer as a tool to produce art.

The end result of the project uses the computer to produce work which spans many media. The printed works can be framed and displayed as fine art. The online version releases the work immediately to millions of potential viewers and offers an explorative interface that allows them...

Struggles

I encountered many difficulties and personal struggles during the course of the project. It is not an easy thing to complete an MFA degree and an ambitious thesis project while working full time and trying to raise a family. Personal events can have as much impact on a work as anything else. I found many difficulties in trying to find balance between my many priorities.

Even with a very supportive spouse and an accommodating employer, it is not an easy task to take on this kind of work. One difficulty that I ran into as a part time student was the simple fact that I had much more time to think about my project

than I actually had to work on it. This was a very difficult struggle. As a professional web designer, I have not worked on a project yet where the design and development for a specific project would span more than six months. After presenting my midpoint review, I would spend nearly two years part-time working through the details of the project.

It was very difficult to not get distracted over time. Design decisions that I made a year ago began to look tired to me, and I would often rework elements. This seemed good for the improvements I made, but it complicated the task of completing the project. Finding the ability to ignore time, and committing to things even when they were not quite perfect, became critical factors for success.

Conclusion

In retrospect, I believe this project is symbolic of my work and my experience at the Academy of Art University. I began the project with a spark of creation, the knot at the center, with the idea that I would create something from it. The earliest stages of the project were like a garden of creativity. I learned more, and my eyes were opened to many possibilities around me.

As I continued in my work, I felt like a small child, in awe at my discoveries, being guided by those who knew much more than I did. I felt confident in my skills and project, and embarked on my journey soon to find there were many things that I still needed to know to complete my journey. I spent lots of time isolated, struggling to solve the maze of the project and still meet my personal goals. I reached deep within myself, looking for faith and divine guidance to help me.

I found help, relying on my closest relationships to help me through it. I worked day and night for months on end to put it all together. The final piece in the work, Death, represents the end of this project and my studies at the Academy, but it also represents the beginning of a new journey and many new works of art to come.

Credits

Special thanks to all those who provided me with much needed academic, mental, and financial support through the course of my studies.

To the Academy of Art University Faculty: Lourdes Livingston, Bud Peen, Kathleen Watson, Matt Cooke, Mark Reynolds, Kapin Weatherly, Ryan McLaughlin, Martha Breen, Jay Harley.

To my editing and copywriting help: Kurt Hills and Shane Moss.

To my colleagues and friends at work who let me ask for their opinions after 1 a.m.

To my family through it all: my parents, Willa Rae and Kenneth Dilworth, and siblings Janice, Becky, Tyler, David, Miken, Jason, Eric, and Samantha.

And especially to my wife Kathi and our two children, Klaire and Paxton, for making big sacrifices for the past three years, and for encouraging and supporting me through it all.

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Original work: A Cosmic Knot — Final Project Summary
Author: John Parker Dilworth
Program: MFA, Computer Arts & New Media, Academy of Art University, San Francisco
Year: 2008

About this edition

This web-native edition was converted from the InDesign book FinalSummary (and its PDF export) into Markdown for My Book Library / Book Studio. Text was reconstructed from the multi-column layout of the original document; illustrations and diagrams were drawn from the project’s media/ and diagrams/ folders and from images embedded in the PDF.

Original printed page references in the table of contents have been replaced by linked chapter pages in this edition.