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The eleven "lesson plans" that accompany the images in the presentation at CAA 2013, "Short Tales from Foundations Practice"

The eleven "lesson plans" that accompany the images in the presentation at CAA 2013, "Short Tales from Foundations Practice"

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  • 1. FATE’s Short Tales from Foundations Practice CAA 2013 1
Mark Allen GrahamProfessor, Department of Visual ArtsBrigham Young UniversityThe Meditation Collections At the edge of nothingness and invisibility is the materiality of collecting. Thesereminders of what cannot be seen include reliquaries containing the bones of saints, Buddhistshrines, and boxes designed to capture the fleeting experience of a day together. The projectdescribed below focused on material culture and collecting as art as a prelude to investigating thepractices of installation art.Magical Objects Objects have their own language and collecting is a dialect with its own meanings,narratives, and sense of memory. Sacred objects in medieval reliquaries held deep symbolicmeaning connected to complex religious stories. These objects were encased in shrines wherethey were catalysts for contemplation and worship. The Wunderkammer or European cabinets ofcuriosities told stories about the elusive relationship between art and science. They were createdto inspire wonder about the mystery inherent in the natural world and suggested that there was afundamental link between nature and art. In the Wunderkammer, each unique and marvelousobject held the promise of an ancient body of learning, a lost secret that waited only for thepassionate gaze of the collector to become known. They reflected a fascination with the origins oflife and the relationship between reason and magic. Surrealist artists echoed theWunderdammer’s juxtaposition of the strange and marvelous by putting objects at the service ofdreams, the irrational, and the subconscious. They emphasized the disorder of desire and theirrational shadow cast over the mind by objects. Many of these same ideas are reflected in thework of contemporary artists, including Mark Dion and Fred Wilson.Insignificant and Disturbed The Meditation Collections includes natural objects, religious icons, bones, rocks and toyanimals. One collection was composed entirely of bottles, another included only objects that werecolored blue. These collections bring up many questions. What do we collect and why do wecollect? How do these collections represent knowledge? Although some of these collectionshave some characteristics of a natural history or archaeological display, they could never qualifyas natural history or archaeology because, in archaeological terms, they are insignificant anddisturbed. Instead they are presented in a more childlike way, as a marvel.The Process Students worked in groups to gather, organize, and write about their collections. Thegallery director arranged for access to “smart spaces” located in the fine arts building and libraryto exhibit the collections. A smart space is a small portable exhibition area. These collectionsreflect the desire to magically transform objects, including the ephemeral of contemporary cultureinto a commentary about art, nature, materiality and spirit.
  • 2. FATE’s Short Tales from Foundations Practice CAA 2013 2
J. Neil LawleyAssistant Professor of ArtDepartment of ArtMissouri Western State UniversitySaint Joseph, MO RUBE GOLDBERG MINI GOLF Assignment SheetObjectives:1. Investigate / explore kinetics, simple machines, and materials.2. Incorporate design principles and theme with desired materials to develop functional,aesthetically pleasing mini golf hole and putters.3. Examine how design affects functionality of objects.4. Develop teamwork and interpersonal communication skills.5. Incorporate all that you have learned this semester into a final project!Instructions:1. Think about how you can use knowledge gained from “Making Things Move” and the“breakfast machine project” to make a mini golf course hole.2. With your group members, brainstorm and decide on a theme and make drawings to developyour own unique, functional mini golf hole. You should also determine par for your course. (Howmany strokes should it take? Par one is best.)3. Make drawings and build a scale model for your final design. (Due next class period!) * Yourdrawings should include a description with types of simple machines used.4. Gather materials and begin working on the mechanics of your project.5. After mechanics are completed, then focus on aesthetics.6. Make one putter and provide one golf ball per team member, and make a sign declaring thename and par for your team’s hole.Limitations: • No fire! • Each hole must contain at least 2 simple machines, 1 turn, must physically (mechanically) move the ball at least once, and must be easily re-settable. • Material – Astroturf (provided) and anything else you like! (no real putters) • The ball that you begin with doesn’t have to be the ball that goes in the hole.Evaluation criteria: creativity, craftsmanship, functionalitycreativity – aesthetic quality, originality of design and theme, and use of materialscraftsmanship – well built, durablefunctionality – Does it work? Does it often break down? Is it difficult to play?
  • 3. FATE’s Short Tales from Foundations Practice CAA 2013 3
Professor Nancy Doolan, Savannah College of Art & Design (SCAD) – Life Drawing IProject 3- FIELDS OF FIGURESGesture and Ground CompositionOBJECTIVE: Use your daily class exercises to develop creative gesture compositions as aprocess for improving proportion and eye-hand coordination, while also exercising creativity andunity.PROCEDURE: Use your observational gesture practice to fill large drawing pages with overlapped andvaried figures enhanced by creative concepts, areas of value and/or texture. Crowd the page,vary the line quality, and use creativity to achieve a semi-abstract piece of art that flowscompositionally. Cover large sheets of Bristol with various gestures alternating an assortment of charcoaland ink media. Experiment as you go or after the pages are filled. Try smudging, massing,contour, scribble style, continuous line, etc. Develop a creative concept for each practice pageand choose one for submission. Impose contrasting elements and areas of emphasis. Add creative patinas of tone andtexture using various media such as pastels, charcoals or ink washes that are sometimes on thebackground and sometimes on the figures. Don’t be predictable about your approach. Conceptualdetails that add narrative are welcome additions. Be aware of how to enhance cues of depth through vertical position, overlapping andatmospheric perspective. For example, having background values get lighter or softer toward theupper regions of the composition will create an illusion of distance. Also placing lighter, smallerfigures toward the upper half and larger, closer gestures middle to low on the picture plane willadd to the effect of spatial distance.REQUIREMENTS:• Depict movement, mass and basic proportion.• Crowd and overlap some figures as a cue of depth.• Vary the size of your figures.• When adding finishes or shading allow some of the negative spaces to remain.• Develop focal areas where more detail and contrast are emphasized.• There should be no circles used as symbols of a head, hands or feet. It is better to do only apartial indication of the form than to close it in as a flattened geometric shape.CRITERIA:Composition: Including movement, mass, basic proportion, overlapping and development of focalareas.Variation: Vary line quality, sizes of figures, value and texture.Creativity: Show conceptual experimentation.Understanding: Emphasize expression and multiplicity
  • 4. FATE’s Short Tales from Foundations Practice CAA 2013 4
David Andrew RoweVisiting Assistant Professor3D Fundamentals Area CoordinatorHenry Radford Hope School of Fine ArtsIndiana UniversityBloomington IN 47403Project: Modular Units: Digital designs and physical objects.Materials/ Tools: Corrugated cardboard, computer (Adobe Illustrator), laser cutter.Project Description: Digital technologies have infiltrated every aspect of contemporary life. Art isno exception. These technologies are increasingly evident along side traditional forms of art. Thisproject will introduce you to one form of digital design and creation: laser cutting. You will designyour project in Adobe Illustrator, and we will cut it out on the laser cutter. Your design should be amodular design. Many artists and designers use modular components as a way of breakingcomplex shapes down into simple parts. Look at examples of modular components that are usedin real-world situations to create compositions that are greater than the sum of their parts. Someexamples include toys, architecture, and furniture. In addition, each module will be planar innature, as it is made from cardboard. Planar shapes are very efficient in their use of material, asis it possible to create large forms that use only a few sheets of cardboard.Procedure: For this project you will be designing a modular unit that can be reproduced multipletimes to form the basis of an abstract composition. You will design the module, and it will be cuton a laser cutter. This project addresses the intersection of digital and physical components, andthe limits/ attributes of material. The design of your final project should reflect the following rules. 1. No glue, tape, or other materials are allowed. The composition should fit together perfectly using pressure. 2. The composition can be symmetrical or asymmetrical. 3. It must be abstract, not representational.You will begin by creating three separate modules (ideas) for this project. These modules will bedesigned in Illustrator, and should represent three separate ideas for the assignment. Once thedesigns have been finalized in Illustrator, they will be cut on the laser and assembled. Each of thethree modules needs to be finished and assembled. Once they are done, you will choose one toproduce as a final project. Using the initial module as a component, create an abstract sculpture.After the maquette stage, changes can be made, parts altered, and then a final run of parts willbe cut on the laser. This will form the final project. The final piece should hold together without theneed for glue, tape, or any other means of fastening.Considerations: All modules must be assembled with no glue or tape, so design forms that can fittogether without the need of extra connecting parts. Consider size, shape, and variations in thedesign. You can also incorporate multiple modules into the same design. What are yourinfluences? Architecture? Toys? Nature? You should think of a cohesive idea for your modules,and design them so that they fit together physically but also visually.Vocabulary words:Module, Plane, FormArtists for InspirationModular Artists:Tara Donovan, Tom Friedman. Artists working in Cardboard: Chris Gilmour, ScottFife, Ferry Staverman
  • 5. FATE’s Short Tales from Foundations Practice CAA 2013 5
Suzanne Dell’Orto,Basic Graphic Communication: Design and Advertising LayoutBaruch College, CUNYOverviewHow do you break the ice and get students to start thinking conceptually? In my Intro to GraphicDesign class at Baruch/CUNY, the first assignment students are given is to design their nameand present it the following week—but theres a catch—each student is assigned a theme wordfor the class, taken from Bob Dylans theme show radio hour—words like moon, neighbors, water,hair, etc.From then on, all the projects the students do in the class must somehow relate to their themeword—throughout the semester, the theme word and its associations grow with the student asthey learn to expand their concepts. The word becomes a designed quotation, a company, brandexpansion, and a magazine.At the end of the semester, they have a strong, personal, and well-thought out and focusedportfolio of work. By using the theme word, student are able to focus their concepts, and givegood feedback to each other during critiques—everyone is able to connect with each other’projects.DESIGN YOUR NAME USING YOUR THEMEPROJECT INSTRUCTIONS 1. Read through the instructions below. On an 8.5 x 11 sheet of paper, brainstorm a list of at least 50 words or symbols that you associate with your theme. Your associations might be obvious or unlikely. Don’t think too hard about the associations; just go with whatever comes to mind. Put your name on this sheet. 2. Look though your list and select 5 that you think have the most potential. These might be the ones you think you can have the most fun with, or the ones that suggest creative or engaging representations. 3. On a sheet of tracing paper, draw out 5 thumbnails based on your list to get an idea of what you want to do. Put your name on this sheet. 4. By hand, please design your own name using your theme on a 9 x 12 sheet of bristol. Horizontal probably will work best. Please take the whole look of the composition into consideration. You may use color, marker, pencil, paint, glitter, cut-outs, rubbings, stamps, string, or any other material you wish (as long as it doesn’t stick or smell). Your goal is to communicate the theme itself, including the associations you want the theme to suggest. Put your name on the back of this sheet. Focus on communicating your message with the typestyle and letters of your name. Try not to decorate or over-illustrate your design. 5. Type up an analysis (2–3 paragraphs) about what you did and how it reflects you and your theme. Make sure you put your name on it. Bring all of your work (brainstorm list, thumbnails, tracings, and analysis) to class for presentation.OTHER CONSIDERATIONS Having an idea is key. Everything counts. Work is evaluated basedon achievement of technical and creative concepts, thoughtfulness, attention to detail, effort, andoriginality of approach. Neatness counts! Presentation counts! Layout counts! 

  • 6. FATE’s Short Tales from Foundations Practice CAA 2013 6
Carla Rae JohnsonAssociate Professor of ArtWestchester Community College75 Grasslands RoadValhalla, NY 105953-D DesignARMOR – ASSIGNMENT #2ASSIGNMENT: Using any number of sheets of recycled white computer/copier paper you require,construct sections of “armor” you can wear to cover 80% to 90% of your body.  It is recommended that you design your armor in sections to facilitate transporting and getting into it.  You will need to consider the forms and assembly configurations which support the required weight and form of each section.  Your armor must be able to be worn and hold up to repeated wearings. It is part of your challenge to design attachments and sections that are strong enough to attach and re- attach as many times as needed.  Design a plan for getting into your armor. This will usually mean starting at the feet and working your way up. The arms and helmet will be donned last.  You are likely to need someone to assist you. Find a classmate willing to help you and be helped by you, to dress for the critique.  ‘The “helmet” of your armor should be a location of emphasis. o Design a configuration of paper elements that will “activate” your helmet and the surrounding space. o Consider and sketch out several options for ways to create emphasis and activate space. o We will discuss such options and possibilities in class.Timeframe: The first week we will focus on introducing the assignment, doing the “teaser,” adiscussion about procuring supplies, and exploring construction configurations, modules, ortechniques for creating wearable segments. The second and third weeks will allow constructionof the armor which will be completed and due at the beginning of class on the fourth week. (Seesyllabus for dates.)MEDIA/MATERIALS:Recycled White-Computer/Copy Paper: You will locate a source of used/recyledcomputer/copier paper on or off campus. You may contact an office and make arrangements tocollect paper on one or more occasions until you have enough to complete this assignmentGlue: Depending on your design, you may wish to use one or more of the following: • PVA or a comparable white-vinyl glue • stapler/staples • binder-clips (to clamp as glue dries) • Scotch-tape: Use any matte-surface clear tape. You will need at least 2-3 rolls.PREPARATIONIN CLASS: Introduction, discussions, informal critiques, and group problem-solving will assistyou in successful design and completion of your armor.NOTEBOOK: Ideas, sketches, possibilities, notes, and responses will be jotted in your notebookas you go. Do image searches for “armor,” “paper sculpture,” “paper sculpture artists,” “origami,”and other, related terms. Document your research, design and creative-problem-solvingprocesses in your notebook. Use digital photos to document work-in-progress on your armor andthe final results. We will photograph the finished products during the critique.READING AND VISUAL EXAMPLES: Complete assigned readings & research. Go to yourBlackboard site. Look at Student Samples and the Visual Archive. Check the Vault, andParticipate in Discussions/Blogs. All of these will reinforce what you have studied in class; enrichyour understanding of the concepts and techniques discussed; as well as provide you with asense of the possibilities.
  • 7. FATE’s Short Tales from Foundations Practice CAA 2013 7
Barbara Yontz, St. Thomas Aquinas College, Sparkill, New YorkLife-Line/Metaphor This assignment is the first in a series designed to introduce students to a specificcreative process that involves; first, the presentation of a problem, followed by brainstorming,research, idea revision and finally, production (in this case a collage). The course, Foundations inTheory and Practice, required for all Graphic Design and Fine Art students and taken in their firstyear, was developed out of a stated need by art faculty. Determining our students were learningskills and processes but that they lacked ‘creativity’, this course is a kind of hybrid where creativeprocess is practiced while other important concepts are introduced. No skills are taught asstudents are left to solve problems conceptually, using skills that need little to no previouspractice. Evaluation is on process alone. This particular project is based on the ancient Greek maxim to, “Know Thyself”. It beginswith students recalling specific life events and organizing them in a way that tells a story. Theconcept of metaphor is introduced including an expanded realization that much humancommunication and belief is actually metaphoric in nature. Led through a process that begins withreflecting on their own experiences, students then organize them in 5-year sections (this justhelps them remember more). They are encouraged to remember things that really matter and areunique to them (like the feeling of a snake, swimming across the pool, touching theirgrandfather’s beard) rather than things everyone may share (like graduating from high school,first car, etc.). Students are given the step-by-step procedures they are expected to engage withand told they will be graded only on how each step is completed, not the final piece. Getting themto believe that the process is more important than the product always proves most difficult tonavigate so we talk about it a lot. We all read the introduction and first chapter of “Metaphors We Live By”, by GeorgeLakoff and Mark Johnson and discuss how metaphor works in art and life. They then beginbrainstorming various metaphors that could be used to refer to a life. We all share our ideas soeveryone can expand their own list, which needs to have at least 50 metaphors. Then narrowingdown the list to only the ones that make sense to their own life, they write the meanings of eachmetaphors doing research if necessary to expand their understanding of the words. They are all required to make a series of thumbnail sketches of a couple of themetaphors to begin ideating what the collage might look like. Bringing these sketches to class wechoose the ones they feel are most effective and then they have to produce a collage usingmostly images cut from magazines. To prevent a linear narrative, students are not allowed to usepersonal photos or drawing as the main means of representation. Using images cut frommagazines, they are forced to use the images to stand in for other concepts. Some drawing or cutpaper can be added at the end. The final stage of the piece is to write a two-paragraph statementof intent discussing the metaphor and images with regards to their own life. The entire assignment takes three to four class periods from introduction to critique aselements are introduced, discussed and implemented.
  • 8. FATE’s Short Tales from Foundations Practice CAA 2013 8
Joshua Jordan - Asst. Professor and Foundations Program CoordinatorMontclair State UniversityDepartment of Art and DesignMontclair, NJ 07043The lesson I’ve chosen is called “The Library Project.” The teacher gives each student three booktitles, all randomly chosen from the University library. The student then has to locate the books,absorb the material, and create a project that demonstrates how three seemingly unrelated topicscan inform one another. The students must decide which book will determine the formal aspectsof the project, which book will drive the project’s content, and which book will inspire how thestudent presents the idea to the class.The aim of the lesson is to challenge an inexperienced artist’s preconceptions about art making,as well as art’s historical conventions and traditions. It is intended to encourage eccentric newmetaphors and cross-pollination of unlikely subject matter. The lesson asks students to doresearch and tease out clear and unexpected connections in the material. This process makesthe student aware that ideas are made of many components. Ultimately, the exercise opens upthe student to the vast possibility of what can determine subject matter, its appearance, and itspresentation.(Images 01, 02, 03) The three books given to this student were a collection of obituaries, a bookabout fencing entitled The Martial Arts of the Renaissance, and Slouching Towards Bethlehem byJoan Didion. The student was drawn to Didion’s essay "On Keeping a Notebook," in which theauthor describes keeping a journal as means staying in touch with all the people she used to be.The basis for the student’s project was that books similarly eulogize who we once were as a race,serving as a reminder of what has now passed into obscurity. The student painted the cover oflegal-sized ledger to make it look like a tomb for The Martial Arts of the Renaissance. Openingthe ledger reveals a depiction of a graveyard; the mounds of dirt over the graves are cut-out flaps,which lift up to uncover a practice room with dueling fencers. The piece was finalized with awritten eulogy to be read at a mock funeral service performed in class.(Image 04) The three books given to this student were Leaves Of Grass by Walt Whitman, TheSwimming Pool (pre-teen fiction set in the midst of segregation), and The Story Of Margarine (ahistory of the invention of the product). The student served each member the class individualportions of a very unusual substance. Despite the student’s encouragement, the class wasunwilling to taste it. When the presenter took a bite, the others finally followed suit and discoveredthat the concoction was merely vanilla pudding and marshmallows. The student drew upon “fearof the unknown,” a theme that each book explored in very different ways: fear of erotic imagery inWhitman’s classic, fear of racial difference that barred African Americans from public pools, andfear within the dairy industry when the invention of margarine represented an economic threat.This student went beyond presenting content; instead, he successfully recreated the experiencefear and suspicion within his audience.(Images 05, 06) The three books given to this student were a biography of Buffalo Bill, a book onancient Chinese medicine, and Persuasive Tactics of Telemarketers. The student came up withhis own product, “Buffalo Bills Long-Living Elixir.” The ingredients were plants, roots, and herbsfrom the Chinese herbal remedy book. The elixir was bottled and presented with the same side-show aplomb usually associated with Buffalo Bill’s traveling act.
  • 9. FATE’s Short Tales from Foundations Practice CAA 2013 9
Craig Lloyd, Associate ProfessorDesign Foundation IICollege of Mount St. Joseph, Cincinnati, OH The course is our 3D Design sequence and is based on several years of evolution. Wecurrently use the same content for both fine art and design majors.The example I am sharing is the final project in a 7-part series that uses progressive stages ofform development influenced by the writings of Laszlo Moholy-Nagy (The New Vision in Motion),Stewart Kranz & Robert Fisher (The Design Continuum) and Gail Greet Hannah (Elements ofDesign). The organic path from 2 dimensions to full 3-dimensional mass and finally todematerialization of form is their basic organizing principle for the study of 3D design.Project 7 – Three-Dimensional Linear Design Creating a structure from linear elements.Build a structure using design elements as follows:• Maximum size of approximately 15" square.• Use linear elements only (dowels, wire, or other linear material).• Bond together with thin wrapped wire and hot glue or epoxy.• Try to define a solid form or forms with linear contours.• Organize components to form a cohesive, complex design.• Create active negative spaces through the arrangement of the positive elements.• Seek a balanced composition (visual balance).• Emphasize interaction between elements (aligning angles and curves, repeating forms).• Structure must be able to be viewed from all sides.• Avoid random placement through careful planning and crafting.• Try for a sense of motion through angles and diagonal movement (dynamic form).Begin by designing a simple frame that defines a solid shape.The focus of the finished piece is to assemble it in such a way as to create strong relationshipsbetween lines and open space. The ideal solution is to have dynamic linear form andsupporting negatives from all points of view around the work. Materials are soft aluminum wireand wooden dowel rods.Project goals: • A balanced, well-planned composition. • Active negative spaces and repetition. • Strong, rhythmic and continuous curves. • A suggestion of 3D volume.Read: pgs. 86-95, Hannah
  • 10. FATE’s Short Tales from Foundations Practice CAA 2013 10
Joel VarlandSavannah College of Art and DesignColor TheoryProject: A Piece of MeDescription: Create a body fragment by casting a mold of a section of your body. Next, paint the fragment in a rhythmic way. Your pattern should reference a particular piece of music and be based on color schemes and color interaction. You may use either gauche or acrylic paint.Procedure: 1. Consider your musical influences and select an individual or a group that both interests you and whom you believe you can represent through this project. 2. Research rhythmic patterns. You should do this at the library, over the Internet and through careful observation of your environment and the media. 3. Create at least 20 color examples of possible rhythms based on both your research and imagination. 4. Create a ‘body Fragment’ (or body extension) out of Rigid Wrap. The fragment can cover any part (please keep it appropriate), section or combination of parts of your body. It may also be embellished, exaggerated or simplified in order to accentuate your concept. 5. From your list of over 20 patterns, select several to develop further. Use several 8x11 Bristol board to test and develop your composition and scheme. 6. In order to prepare your fragment for painting, smooth out the plaster and then prime it. 7. Apply your patterns (at least 6) so that they express the music and create a sense of movement across your fragment. 8. Apply your paint while paying particular attention to the color interaction. 9. Establish a way to present your fragment so it can be hung on the wall. 10. Burn your song on a thumb drive and bring it to class for the presentation.Grading Criteria: - Evidence of research and pattern development - Thoughtful and witty design - Careful use of color interaction - Thoughtful layering and transition of patterns - Used color to create movement and rhythm. - Synchronicity of music, form, pattern, and color - Overall craft - Thoughtful presentationAssigned: _________Patterns Due: _________Refined Patterns: _________Primed Fragment: _________Project Due: _________