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Design and Drawing Course Design: Teaching Portfolio 2019

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Teaching Portfolio update emphasizing courses in design fundamentals, drawing, fashion drawing, drawing for animation. drawing for game art, observational drawing, Expertise in constructivist teaching strategies and leveling up in learning using Bloom's Taxonomy.

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Design and Drawing Course Design: Teaching Portfolio 2019

  1. 1. Honoria Madelyn Starbuck, Ph.D. Teaching Portfolio 6502 Grover Avenue Austin, TX 78757 512-736-9394 hstarbuck@aii.edu honoria.starbuck@gmail.com http://honoriastarbuck.com/ Teaching Video https://vimeo.com/215542563
  2. 2. Levels, Layers and Professional Language I believe that Levels in Bloom’s Taxonomy help students gauge where they are in learning. Bloom's Taxonomy is a set of hierarchical models used to classify learning objectives into levels of complexity and specificity. I give students examples of each of the levels as we embody the levels in the classroom. For example, when drawing we are at the Application level. When conducting critique we are at the Analysis level. Since students identify levels with video games, the level idea has meaning, and even a playful meaning, as students consciously level up in learning. Layers are embedded in all drawing software, and conveniently in the history of art as well. Layers make sense to students. Applying those layers to drawing, even with traditional media, can make an efficient workflow when drawing the human figure. The age-old artists’ layers of preliminary sketch, blocking in, grisaille, scumbling, and color blocking can be readily applied in the technology of today. In anatomy there are also layers; of bones, muscles, fat, skin, and lighting. Professional Language can also be gamified as students role- play their future working selves in professionalized post mortem critiques of finished drawings and projects. I encourage students to look at class drawings through the lenses of line, shape, texture, color strategies, value contrasts, illusion of motion, and the perception of 3-D space and volume. Analyzing these specific criteria give students useful feedback on what elements to tweak and balance to achieve more compelling drawings. Students come to anatomy class nervous about the detailed biology involved, concerned with nudity of the model, and with idealized concepts of drawing. Many students want to slow down and be perfect. But industry needs efficiency and speed to meet deadlines. My teaching offers structures to compartmentalize and organize techniques into levels and layers. My teaching philosophy is based on Bloom’s structure of learning combined with 21st century application of age-old design techniques to promote efficient, achievable drawing and design success. Professional language and communication skills build students’ confidence as they grow into their professional creative selves. My teaching philosophy is that levels, layers and professional language in the classroom add up to organized creativity. Teaching Philosophy
  3. 3. • Design Fundamentals Introductory course will explore the principles of design and introduce and develop the creative process. Design elements and relationships will be identified and employed to establish a basis for aesthetic sensitivity and critical analysis. Design will be presented as a tool of communication. • Observational Drawing This course involves observation and translation of three- dimensional form into two-dimensional drawings. Starting with simple shapes and progressing to more complex organic forms, students build skills in composition, line quality, and use of light and shadow. • Life Drawing and Anatomy This course explores the fundamentals of drawing the human figure through study of anatomy. Observation and rendering skills are developed, and the use of various drawing media is examined. • Life Drawing and Gesture The course will focus on an interpretation of the human body, based on major masses organized by gestural line, line of action, motion, measurement, and foreshortening. Students will be introduced to the power of gesture to convey narrative information. • Color Fundamentals This fundamentals course will provide an introduction to the principles of color and an exploration of color theory as it relates to design. Students will learn to use color in both traditional and contemporary media, and to render color effects for print and electronic production methods. In addition, the psychological and cultural aspects of color will be explored, as well as their role in the design process. • Advanced Drawing for Animation Building on knowledge from preceding drawing courses, students will develop their drawing skills in the context of professional media arts and animation applications. This course will place emphasis on advanced drawing techniques and strengthening the skills through real world observation. • Fashion Drawing The goal of this course is to provide fashion-drawing experience to Fashion and Retail Management students. The students will experiment with different mediums and techniques to express fashion ideas in professional contexts. • Advanced Fashion Illustration Students learn advanced drawing techniques to render the fashion figure, using a variety of media to render garment and fabric types in order to produce a design process portfolio document. • Tai Chi Teaching at the Austin Kung Fu Academy students explore a variety of slow-paced movements and learn the Yang 37 tai chi form. Courses Taught
  4. 4. Sierra W. This class has been everything I've ever wanted from an anatomy course: honest, raw, insightful, and educational. Thank you so much. You've taught me how to illustrate dynamic composition while maintaining a sense of realism. Steph H. I can definitely see my classmates are getting extremely awesome. I really love this class' exchange of positive criticism. Starbuck, as well as my classmates, motivate me to push myself. I definitely am so excited for this week's homework to draw from nature. Doug G. I was a lot more comfortable & seemed to really understand the dimensions to create animals from imagination through the space mermaid technique. Using complementary colors and light and dark contrast made it easy to distinguish different characters in the group staging drawings. Lerma I really enjoyed making hybrid characters. Looking at everyone's drawing it seems like days with no model have a certain excitement to them, creating a game according to Carmen's story was very successful. Staging is starting to get easier for myself and others in the classroom. Much improvement in everyone and I feel I have improved on many things using staging props and showing directional force. Student CommentsTeaching Effectiveness Student comment on Instagram
  5. 5. Design your own Final Exam Design Fundamentals Students used the vocabulary to craft one question for the final exam that was challenging, yet that they felt confident to answer. Students were to discuss their questions with other students to get the best version of the question and to avoid overlapping questions. Here are some of the most interesting questions: 1. Illustrate something that incorporates both of these concepts: abstract and focal point. 2. Illustrate 2 elements and one principle. Explain how these 3 relate to your field of study. 3. In psychology Gestalt means something that is made of many parts and yet is somehow more than or different from the combination of its parts. Briefly explain how you have experienced the feeling of Gestalt during the course when several or many pieces came together to create new meaning or feeling of usefulness for you. 4. Name 3 or more elements and principles are going to help you the most in your future career. Briefly explain why these 3 are most important to your future creative production. 5. Draw a simple design. Using the same elements of the first design draw a second, more dynamic or dramatic design. Write a sentence explaining the story or mood of the first design contrasted to your resulting revision. This question requires 2 drawings and one sentence for an answer. Students then stood up, read their question to the class, and students answered and discussed the questions of their peers. Student Learning Vocabulary Race How many terms can you as a class recall?
  6. 6. Design Fundamentals Videos and Blogs Instructional Videos Video to promote school – in-class teaching https://vimeo.com/215542563 Color Vocabulary https://www.screencast.com/t/6O4iV9ZlbpE Rhythm Vocabulary http://screencast.com/t/3oNxRiY1nl Color Vocabulary with Jokes by Students http://youtu.be/DwtLX9JXJVI Design Fundamentals student blogs https://hstarbuck.tumblr.com/
  7. 7. Lemon Day in Observational Drawing We had new pastels in the classroom. Some students had completed the color fundamentals course and their use of color strategies created nuanced relationships in the compositions. Student Comments Shelbi B. Today we learned about light logic using lemons! We talked about bracketing with values on different parts of the lemon in order to make it look more realistic. I had a little trouble with the vertical placement on the second one. But, with some assistance, I learned how to measure the distance between 2 lemons and how smudging the distant lemon will give it a more distant look. Celeste F. We used Bracketing to learn how to shade light, midtone, and dark values. This helped when moving into pastels. We found the light logic on the lemons compared to a sphere and used vertical placement/aerial perspective to create a picture with 2 lemons. Brigette P. Today was lemon day! I had a lot of fun! My first attempt of the lemons wasn't so great. My proportions was a bit off, and I did not have enough mid-tones. The second attempt came out great! I used bracketing with values way better and my proportion was a lot better. Also my use of color strategy gave a nice contrast and emphasis. Thank you for the tips! Student Learning Student Lemon Day drawings
  8. 8. Life Drawing and Gesture Students study the anatomical aspects of expression as well as the effects of lighting on the mood of the figure.
  9. 9. Fashion Drawing Students post their drawings on the whiteboard with magnets twice per class for peer review feedback and critiques.
  10. 10. Observational Drawing As the term progresses students develop the capacity to interpret shapes and values by using the right-brained drawing approach. Photo of folded paper still life Student drawing in white and black pastel on toned buff paper from later in the term Students arrive with a timid view of drawing as a mid-toned outline of an object on a white piece of paper. This timid early drawing of toy shark still life is an example of a drawing from early in the term.
  11. 11. SXSW Interactive Programming Committee 2012 - 2019 - Evaluate proposals for panels, workshops, and speakers SXSW Education Advisory Board for 2013 - 2019 - Evaluate proposals for panels and workshops Full time Faculty, Art Institute of Austin, - Teach Design Fundamentals, Observational Drawing, Anatomy and Drawing, Gesture Drawing, Fashion Drawing. - Develop assessment tools aligned to course competencies for Foundations Department Adjunct faculty, Art Institute Online, Art Institute of Pittsburgh, March 2005 - 2009 - Facilitate online art courses in drawing, life drawing, and color theory Instructional Designer, Texas Engineering Extension Service (TEEX) August 2005 - 2009 - Evaluate existing OSHA training - Redesign instructor and student instructional materials for Industrial Hygiene course Usability Consultant January 2003 - 2005 Polycot Networks LLC. Austin, TX - Evaluate Web design and content based on needs assessment and prototype testing Development Researcher June 2001-August 2003 Accessibility Institute, University of Texas at Austin - Coordinated development strategies for technology and learning research Coordinator: Convergent Media Lecture Series Sept. 2000-June 2001 Advanced Communication Technologies Laboratory (ACTLab) University of Texas at Austin Online Community Manager, May 1998-June 2000, WholePeople.com and WholeFoods.com, Austin, TX Internet opera director/producer 1995-2003 Advanced Communication Technologies Laboratory (ACTLab) University of Texas at Austin Editor Austin, Texas 1995-1996 National Issues Convention, University of Texas at Austin . . . Additional Experiences - Solomon R. Guggenheim Museum, New York City - Jack S. Blanton Museum of Art, University of Texas at Austin Experience
  12. 12. Mission Levels are Levels is a restructuring of design fundamentals coursework for visual design, visual effects, game arts, and animation classes independent of changing technology. Our research focus modernizes design education, creating relatable curriculum and resources for today's learners by linking playable course content to levels of learning. Need Because design teaching has been based on fine art, graphic design, and art history, today’s teachers must adapt traditional material to fit into 21st century applied art contexts. In addition, design teachers are often design professionals who lack training in classroom teaching methods. This book, for current and future visual design professionals, is full of gamified proven educational methods based on Bloom’s taxonomy. Levels are Levels: Design Practice to Wield Fundamental Powers of Creativity Levels are Levels is a textbook aligning years of insights from teachers’ application of Bloom’s Taxonomy to design fundamentals curriculum. The result of this alignment creates a playable classroom environment that is student driven and project based. Students have a firm grip on each level of learning. As they move through the levels students apply new fundamental knowledge to create engaging video game and film animation scenes, backgrounds, levels, characters, monsters, weapons, vehicles and other assets. Project In Development Playable Curriculum Levels are Levels Design Fundamentals for the 21st Century
  13. 13. Design Aesthetics / Principles Introductory Content The five Aesthetics of Design have the power to make you into a successful leader. As a high-level thinker directing your team toward one of the design aesthetics, then another, provides direction and a visual coherence. According to Pauline Brown at the Harvard Business School, “it’s important for senior executives to possess a combination of what she calls “aesthetic intelligence” and “aesthetic empathy”— good personal taste combined with a good understanding of what pleases others. They need to understand how to engage the senses and elicit delight.” (Nobel, 2017) Formerly known as design principles, the Design Aesthetics guide the overall look and feel of each character, weapon, environment in the context of the game’s core story. What are these powerful guides? The Design Aesthetics are Unity, Scale, Emphasis, Rhythm, and Gestalt. Formerly known as elements of design, the Design Variables in this curriculum are things you change, or ask your team to change, in order to achieve an effective composition. What are these variables? Mindfulness, Color, Value, Shape, Pattern, Texture, Motion, Line, and Point Together, Design Aesthetics and Variables can be configured into design guidelines with a specific language for communication between designers. Design vocabulary is a secret code. Using the vocabulary, the secret design language, in this book will mark you as a professional in the creative professions. Creatives all know these vocabulary terms. The terms are a secret code for creatives. Playable Curriculum Design vocabulary is a secret code.
  14. 14. Barry Underhill, Art Institute of Austin, former Director of Foundations Honoria is a talented and dedicated artist and instructor. Her passion comes through in her work and the work of her students. We are lucky to have her teaching with us. Luanne Stovall, Color Theorist and teacher, The New Color, The University of Texas at Austin Honoria Starbuck embodies the most noble qualities that have inspired artistic achievements over so many years: vibrant spontaneity, fluid imagination, soaring intellect, and the requisite high spirits so magnetic to others. I respect her ability to listen and her trained mind for innovative curriculum design. It is such pleasure to work with Honoria as we design and implement a new Bauhaus moment in the arts. Dennis Peterson, Life Drawing model Thank you for the work opportunity to model for your class last night. I was very much impressed with your teaching skills. It was obvious that your students have great respect for you. I was also amazed at your understanding of model anatomical mechanics. I was much surprised when you identified balance as one of the uniting elements of my final sitting pose. Brilliant observation! You certainly are a well-studied and gifted instructor. It was an honor to work with you and your class. I hope that I can again get the opportunity to work with you. Though difficult, the challenges that you presented were interesting and welcomed. As your students progress, they may enjoy drawing some of my gestures. The dynamics of short poses inspire me. I love to feel motion when I view art. Colleagues’ Comments Collegiate moment in the faculty offices with the anatomy skeleton

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