Fate short tales lesson details

FATE’s Short Tales from Foundations Practice CAA 2013 1 

Mark Allen Graham
Professor, Department of Visual Arts
Brigham Young University

The Meditation Collections

At the edge of nothingness and invisibility is the materiality of collecting. These
reminders of what cannot be seen include reliquaries containing the bones of saints, Buddhist
shrines, and boxes designed to capture the fleeting experience of a day together. The project
described below focused on material culture and collecting as art as a prelude to investigating the
practices 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 symbolic
meaning connected to complex religious stories. These objects were encased in shrines where
they were catalysts for contemplation and worship. The Wunderkammer or European cabinets of
curiosities told stories about the elusive relationship between art and science. They were created
to inspire wonder about the mystery inherent in the natural world and suggested that there was a
fundamental link between nature and art. In the Wunderkammer, each unique and marvelous
object held the promise of an ancient body of learning, a lost secret that waited only for the
passionate gaze of the collector to become known. They reflected a fascination with the origins of
life and the relationship between reason and magic. Surrealist artists echoed the
Wunderdammer’s juxtaposition of the strange and marvelous by putting objects at the service of
dreams, the irrational, and the subconscious. They emphasized the disorder of desire and the
irrational shadow cast over the mind by objects. Many of these same ideas are reflected in the
work of contemporary artists, including Mark Dion and Fred Wilson.

Insignificant and Disturbed
The Meditation Collections includes natural objects, religious icons, bones, rocks and toy
animals. One collection was composed entirely of bottles, another included only objects that were
colored blue. These collections bring up many questions. What do we collect and why do we
collect? How do these collections represent knowledge? Although some of these collections
have some characteristics of a natural history or archaeological display, they could never qualify
as natural history or archaeology because, in archaeological terms, they are insignificant and
disturbed. 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. The
gallery director arranged for access to “smart spaces” located in the fine arts building and library
to exhibit the collections. A smart space is a small portable exhibition area. These collections
reflect the desire to magically transform objects, including the ephemeral of contemporary culture
into a commentary about art, nature, materiality and spirit.


J. Neil Lawley
Assistant Professor of Art
Department of Art
Missouri Western State University
Saint Joseph, MO

RUBE GOLDBERG MINI GOLF Assignment Sheet

Objectives:
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 develop
your own unique, functional mini golf hole. You should also determine par for your course. (How
many strokes should it take? Par one is best.)
3. Make drawings and build a scale model for your final design. (Due next class period!) * Your
drawings 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 the
name 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, functionality
creativity – aesthetic quality, originality of design and theme, and use of materials
craftsmanship – well built, durable
functionality – Does it work? Does it often break down? Is it difficult to play?


Professor Nancy Doolan, Savannah College of Art & Design (SCAD) – Life Drawing I

Project 3- FIELDS OF FIGURES
Gesture and Ground Composition

OBJECTIVE: Use your daily class exercises to develop creative gesture compositions as a
process for improving proportion and eye-hand coordination, while also exercising creativity and
unity.

PROCEDURE:
Use your observational gesture practice to fill large drawing pages with overlapped and
varied 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 flows
compositionally.
Cover large sheets of Bristol with various gestures alternating an assortment of charcoal
and 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 page
and choose one for submission.
Impose contrasting elements and areas of emphasis. Add creative patinas of tone and
texture using various media such as pastels, charcoals or ink washes that are sometimes on the
background and sometimes on the figures. Don’t be predictable about your approach. Conceptual
details that add narrative are welcome additions.
Be aware of how to enhance cues of depth through vertical position, overlapping and
atmospheric perspective. For example, having background values get lighter or softer toward the
upper regions of the composition will create an illusion of distance. Also placing lighter, smaller
figures toward the upper half and larger, closer gestures middle to low on the picture plane will
add 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 a
partial 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 focal
areas.
Variation: Vary line quality, sizes of figures, value and texture.
Creativity: Show conceptual experimentation.
Understanding: Emphasize expression and multiplicity


David Andrew Rowe
Visiting Assistant Professor
3D Fundamentals Area Coordinator
Henry Radford Hope School of Fine Arts
Indiana University
Bloomington IN 47403

Project: 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 is
no exception. These technologies are increasingly evident along side traditional forms of art. This
project will introduce you to one form of digital design and creation: laser cutting. You will design
your project in Adobe Illustrator, and we will cut it out on the laser cutter. Your design should be a
modular design. Many artists and designers use modular components as a way of breaking
complex shapes down into simple parts. Look at examples of modular components that are used
in real-world situations to create compositions that are greater than the sum of their parts. Some
examples include toys, architecture, and furniture. In addition, each module will be planar in
nature, as it is made from cardboard. Planar shapes are very efficient in their use of material, as
is 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 multiple
times to form the basis of an abstract composition. You will design the module, and it will be cut
on a laser cutter. This project addresses the intersection of digital and physical components, and
the 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 be
designed in Illustrator, and should represent three separate ideas for the assignment. Once the
designs have been finalized in Illustrator, they will be cut on the laser and assembled. Each of the
three modules needs to be finished and assembled. Once they are done, you will choose one to
produce 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 will
be cut on the laser. This will form the final project. The final piece should hold together without the
need 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 fit
together without the need of extra connecting parts. Consider size, shape, and variations in the
design. You can also incorporate multiple modules into the same design. What are your
influences? 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, Form

Artists for Inspiration
Modular Artists:Tara Donovan, Tom Friedman. Artists working in Cardboard: Chris Gilmour, Scott
Fife, Ferry Staverman


Suzanne Dell’Orto,
Basic Graphic Communication: Design and Advertising Layout
Baruch College, CUNY

Overview
How do you break the ice and get students to start thinking conceptually? In my Intro to Graphic
Design class at Baruch/CUNY, the first assignment students are given is to design their name
and present it the following week—but there's a catch—each student is assigned a theme word
for the class, taken from Bob Dylan's 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 theme
word—throughout the semester, the theme word and its associations grow with the student as
they learn to expand their concepts. The word becomes a designed quotation, a company, brand
expansion, and a magazine.

At the end of the semester, they have a strong, personal, and well-thought out and focused
portfolio of work. By using the theme word, student are able to focus their concepts, and give
good feedback to each other during critiques—everyone is able to connect with each other’
projects.

DESIGN YOUR NAME USING YOUR THEME
PROJECT 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 based
on achievement of technical and creative concepts, thoughtfulness, attention to detail, effort, and
originality of approach. Neatness counts! Presentation counts! Layout counts!


Carla Rae Johnson
Associate Professor of Art
Westchester Community College
75 Grasslands Road
Valhalla, NY 10595

3-D Design
ARMOR – ASSIGNMENT #2
ASSIGNMENT: 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,” a
discussion about procuring supplies, and exploring construction configurations, modules, or
techniques for creating wearable segments. The second and third weeks will allow construction
of the armor which will be completed and due at the beginning of class on the fourth week. (See
syllabus for dates.)

MEDIA/MATERIALS:
Recycled White-Computer/Copy Paper: You will locate a source of used/recyled
computer/copier paper on or off campus. You may contact an office and make arrangements to
collect paper on one or more occasions until you have enough to complete this assignment
Glue: 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.

PREPARATION
IN CLASS: Introduction, discussions, informal critiques, and group problem-solving will assist
you in successful design and completion of your armor.
NOTEBOOK: Ideas, sketches, possibilities, notes, and responses will be jotted in your notebook
as you go. Do image searches for “armor,” “paper sculpture,” “paper sculpture artists,” “origami,”
and other, related terms. Document your research, design and creative-problem-solving
processes in your notebook. Use digital photos to document work-in-progress on your armor and
the final results. We will photograph the finished products during the critique.
READING AND VISUAL EXAMPLES: Complete assigned readings & research. Go to your
Blackboard site. Look at Student Samples and the Visual Archive. Check the Vault, and
Participate in Discussions/Blogs. All of these will reinforce what you have studied in class; enrich
your understanding of the concepts and techniques discussed; as well as provide you with a
sense of the possibilities.


Barbara Yontz, St. Thomas Aquinas College, Sparkill, New York

Life-Line/Metaphor

This assignment is the first in a series designed to introduce students to a specific
creative 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 in
Theory and Practice, required for all Graphic Design and Fine Art students and taken in their first
year, was developed out of a stated need by art faculty. Determining our students were learning
skills and processes but that they lacked ‘creativity’, this course is a kind of hybrid where creative
process is practiced while other important concepts are introduced. No skills are taught as
students are left to solve problems conceptually, using skills that need little to no previous
practice. Evaluation is on process alone.
This particular project is based on the ancient Greek maxim to, “Know Thyself”. It begins
with students recalling specific life events and organizing them in a way that tells a story. The
concept of metaphor is introduced including an expanded realization that much human
communication and belief is actually metaphoric in nature. Led through a process that begins with
reflecting on their own experiences, students then organize them in 5-year sections (this just
helps them remember more). They are encouraged to remember things that really matter and are
unique to them (like the feeling of a snake, swimming across the pool, touching their
grandfather’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 with
and told they will be graded only on how each step is completed, not the final piece. Getting them
to believe that the process is more important than the product always proves most difficult to
navigate so we talk about it a lot.
We all read the introduction and first chapter of “Metaphors We Live By”, by George
Lakoff and Mark Johnson and discuss how metaphor works in art and life. They then begin
brainstorming various metaphors that could be used to refer to a life. We all share our ideas so
everyone can expand their own list, which needs to have at least 50 metaphors. Then narrowing
down the list to only the ones that make sense to their own life, they write the meanings of each
metaphors 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 the
metaphors to begin ideating what the collage might look like. Bringing these sketches to class we
choose the ones they feel are most effective and then they have to produce a collage using
mostly images cut from magazines. To prevent a linear narrative, students are not allowed to use
personal photos or drawing as the main means of representation. Using images cut from
magazines, they are forced to use the images to stand in for other concepts. Some drawing or cut
paper can be added at the end. The final stage of the piece is to write a two-paragraph statement
of 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 as
elements are introduced, discussed and implemented.


Joshua Jordan - Asst. Professor and Foundations Program Coordinator
Montclair State University
Department of Art and Design
Montclair, NJ 07043

The lesson I’ve chosen is called “The Library Project.” The teacher gives each student three book
titles, 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 topics
can inform one another. The students must decide which book will determine the formal aspects
of the project, which book will drive the project’s content, and which book will inspire how the
student 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 new
metaphors and cross-pollination of unlikely subject matter. The lesson asks students to do
research and tease out clear and unexpected connections in the material. This process makes
the student aware that ideas are made of many components. Ultimately, the exercise opens up
the student to the vast possibility of what can determine subject matter, its appearance, and its
presentation.

(Images 01, 02, 03) The three books given to this student were a collection of obituaries, a book
about fencing entitled The Martial Arts of the Renaissance, and Slouching Towards Bethlehem by
Joan Didion. The student was drawn to Didion’s essay "On Keeping a Notebook," in which the
author 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 of
legal-sized ledger to make it look like a tomb for The Martial Arts of the Renaissance. Opening
the 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 a
written 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, The
Swimming Pool (pre-teen fiction set in the midst of segregation), and The Story Of Margarine (a
history of the invention of the product). The student served each member the class individual
portions of a very unusual substance. Despite the student’s encouragement, the class was
unwilling to taste it. When the presenter took a bite, the others finally followed suit and discovered
that the concoction was merely vanilla pudding and marshmallows. The student drew upon “fear
of the unknown,” a theme that each book explored in very different ways: fear of erotic imagery in
Whitman’s classic, fear of racial difference that barred African Americans from public pools, and
fear within the dairy industry when the invention of margarine represented an economic threat.
This student went beyond presenting content; instead, he successfully recreated the experience
fear and suspicion within his audience.

(Images 05, 06) The three books given to this student were a biography of Buffalo Bill, a book on
ancient Chinese medicine, and Persuasive Tactics of Telemarketers. The student came up with
his own product, “Buffalo Bill's Long-Living Elixir.” The ingredients were plants, roots, and herbs
from 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.


Craig Lloyd, Associate Professor
Design Foundation II
College of Mount St. Joseph, Cincinnati, OH

The course is our 3D Design sequence and is based on several years of evolution. We
currently 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 of
form 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 of
Design). The organic path from 2 dimensions to full 3-dimensional mass and finally to
dematerialization 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 relationships
between lines and open space. The ideal solution is to have dynamic linear form and
supporting negatives from all points of view around the work. Materials are soft aluminum wire
and 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


Joel Varland
Savannah College of Art and Design
Color Theory

Project: A Piece of Me
Description:
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 presentation

Assigned: _________
Patterns Due: _________
Refined Patterns: _________
Primed Fragment: _________
Project Due: _________

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