How can collaboration be a catalyst for making?
Collaboration is important across many fields of creative work and the discoveries made through it can be invaluable. This unit promotes methods that emphasize teamwork, spontaneity and responsiveness. You will see how methods of shared creativity can produce a form of knowledge that is experiential and intuitive.
Students will develop a discrete visual vocabulary and system. These systems will then be shared with all DS1 students to create a shared lexicon that may be mined endlessly. We will recontextualize, synthesize, transform and conspire, working in and on top of each other’s work. We will build on remix practices, which blur distinctions between invented and borrowed work.
Week One: SET OF PARTS AND APPROPRIATION
After introducing this unit each student is given a word. Use this word as a starting point for inspiration and media to be explored.
Next build a complex set of visual parts (total: 50) to share with all students in DS1.
Use this assignment as an opportunity to develop a language of personal symbolism.
Use any available resource found and/or self-authored: photos, scans, drawings, video, etc. Your visual vocabulary will include but not be limited to: shape, perspective, color, line weight, scale, foreground/background, level of abstraction, etc.
This unit is structured to provide an opportunity to collaborate and extend the process of design from self to collective.
You will design 2 posters that are due week one of this unit. (printed or pdf)
Determine methods, techniques, media, etc. you plan to work with. Explore and perform studies using a variety of 2D and 3D materials and processes. Look at ways of hybridization and translating one medium into another. (Physical and Digital)
You will receive an invitation via email to a shared Google Drive. Save your set of parts to the Google Drive in preparation to share with classmates by Noon on Saturday, October 31st, 2015.
Week Two: EXCHANGE
For this part of the assignment you will work in pairs.
Create a poster diptych that is a response and reinterpretation of your partners work. Expand it through analysis and experimentation. Recontextualize, synthesize, transform and conspire, refine the system, work in and on top of each other’s work. This process can shift your thinking and may uncover unforeseen relationships.
Working together in section:
Week Two Critique in Section:
Martin Venezky, Sol Lewitt, Stephen Wolfram, Karel Martens, Barry McGee, Miranda July
Collaborative working methods, Flexibility, Intuition, Spontaneity, Respect and Trust, Working with Constraints, Fragmentation, Gestalt, Abstraction, Appropriation, Conveying ideas through minimal means, Explore processes and media, Hybridization/working across platforms, Representation and Meaning
http://thisiscolossal.com/?s=typography (that crazy site where you can find a dizzying amount of too much cool stuff )
http://www.thisiscolossal.com/2010/11/hand-cut-typography/ (a lovely thoughtful project)
http://www.tm-research-archive.ch/ (beautiful archive of swiss typographic covers for a type magazine series from the 70s/80s)
http://www.edruscha.com/featured-works/ (world famous painter/artist lover of words)
https://www.youtube.com/watch?v=m86ae_e_ptU (OK-Go music video; if you dont like their music just turn the volume down)
http://www.ok-rm.co.uk/project/the-billboard-book-project-jonathan-monk (great UK studio project: about scale, proportion, type)
http://balladora.blogspot.com/ a very well curated typography blog with a deep archive.
also look up HN Werkman, and also enjoy this
https://www.are.na/share/GMgWhBK (From JC)
How can the graphic medium enhance and enrich the verbal message?
In our engagement with the world around us, and our routine to “make sense” out of complexity, we take for granted the perceptual and holistic principles this interaction involves. That perception of parts and configurations as a holistic system, or language, depends greatly on the use of socalled “gestalt” principles (i.e., figure-ground, similarity, closure, etc.) and how these serve the purpose to communicate. Since graphic design presents ideas primarily via graphic means, awareness of these perceptual principles is critical for designers to help their products stimulate clarity and unity, curiosity and interest, inquiry and insight. We will look into this power of graphic design to discover how an abstract (non-visual) object like a “word” (a verbal means to represent an idea) can be enriched significantly toward a deep sense of poetic insight due to its graphic/visual delivery, and thus provide a lasting impression of value for the ideas it holds.
— Develop visual sensibilities
— Learn about “gestalt” principles and their holistic system as “language”
— Observe the power of the visual to affect the non-visual
— Develop mind-mapping skills
— Become aware of the practice to design for experience
We saw evidence of excellent work and a good variety of visual explorations on the wall. Well done! You put lots of basic design principles to work in your explorations: form, color, material, context/subversion, language (type), color, quantity variations! Also photography, framing, perspective, cropping, scale, order. All Good.
Now you have the task of re-presenting what you did in a new form. You must frame, or re-frame, the record of the event(s).
This is what this field is largely about: Visual Communication, pure and simple.
Breaking it down:
You performed some interventions on various sites. You used form, material, language, color, quantity, context. You created many different environments and moments in space: strange experiments; bold interventions; quiet visual poetry; surreal and surprising landscapes; and so on. In some cases you created narrative. In some cases you made purely aesthetic or formal moves.
Now you need to decide what it was you did, and you need to look at the records of these events, and work out how to tell others about them.
Will you approach your next step as a sorting/organizing system? Or some other method? Will you use a narrative approach? Will you develop a gathering or archive or collection? Will you create some sort of installation or wall system? Or make a book or a video to sort or reframe the work? Will you edit your material and foreground just one of your interventions? Or try to show all of them? Or create some hierarchy in a single collection? How will (can) your audience share in what happened? What methods can you employ to put your “documentation” to work to communicate to others?
Only YOU can answer these questions.