Launching the Imagination / Pg. 134-149 / 355
Variations of a Theme
-When we work creatively, the idea develops right along with the image, As the project evolves we see other implications that go beyond our initial intentions.
Habits of Mind and Work
-Habits of Mind
-Flexibility
-Convergent, divergent and collaboratve problem solving strategies present distinct advantages and disadvanteges.
-Analytical thinking
-Designers are hired to solve a client's problem. Limitations imposed by time, materials and budget complicate matters. Analytical mind set helps the designer solve the real problem rather than wasting time on an imagined problem
-Capacity for Synthesis
-Synthesis my be defined as the capacity to combine separate parts to create a coherent whole.
-Two aspects of synthesis are particularly important for artists and designers
-One: they must be able to combine lines, shapes, textures and so on to create a compositional whole.
-Two: they must be able to apply past knowledge to new situations.
-Responsible Risk Taking:
-Risk-Takers are willing to risk failure in order to achieve success. They view setbacks as opportunities for growth.
Habits of Work
-Self Reliance
-Self-reliance creates an active approach to work.
- Rather than waiting for directions or blaming others for delays, each architecture student actively generates possibilities, weighs benefits, and makes choices.
-Organized Persistence
-It may take two weeks, but eventually organized persistence results in a solution.
-It gives the opportunity to prevail, even when we are faced with the most daunting task
-Daily Practice
-Daily practice helps maintain momentum.
-Work on something for an hour or so a night as opposed to working on it in one day in a month.
-Appropriated speed
-Slowing down to reframe a question and weigh alternative solutions is necessary in other cases.
-Knowing when to slow down and speed up is one mark of a "master learner"
-Valuing Alternative Viewpoints
-Listening to other, understanding diverse points of view, and considering alternatives expand our capacity to solve a wide variety of problems.
-Incremental Excellence
-Most art and design problems are best developed in a series of stages. Ideas evolve, skills improve, compositions are distilled.
-Direct Engagement
Talk is cheap, work is hard, the only way to survive most art and design problems is to get involved.
Establishing Criteria:
-Ask yourself these questions
-What is the purpose of the assignment?
-Does your teacher want you to learn any specific skills?
-What compositional and conceptual variables will you need to explore?
-What are the basic assignment parameters?
-Are there limitations in the size, style, or materials?
-When is the assignment due and in what form must it be presented?
Form, Subject, Content:
-Form: defined as the physical manifestation of an idea or emotion.
-Subject: (the topic) Is most apparent when a person, an object, an event, or a setting is clearly represented.
-Content: The emotional or intellectual message of an artwork provides its underlying theme (or content)
Stop, Look, Listen, Learn:
-Any of these three aspects of design can be discussed critically by partaking in a critique.
-Critique: where/when your peers or professors analyze your work.
-During a critique come with an open mind rater than with your fists closed.
-Objective criticism: used to assess how well a work of art or design utilized the elements and principles of design.
-It is based on direct observation and a shared understanding of assignment parameters.
-Subjective Criticism: used to describe the personal impact of an image, the narrative implications of an idea, or the cultural ramifications of an action.
-Discussion typically focuses on the subject and content of the design including: the meaning of the artwork, the feelings it evokes, its relationship to other cultural events, the artists intent.
Types Of Critiques:
-Description: Simply describe the visual organization of the work.
-A descriptive critique can help you see details and heighten your understanding of the design.
-Cause and Effect: (Formal Analysis): builds on this description in a simple description, you might say that the design is primarily composed of diagonals.
-Compare and contrast: Similarities and differences between two images are noted.
-Greatest strength/ unrealized potential: Many projects have one notable strength and one glaring weakness. To create a positive atmosphere, start by pointing out the strength in the work.
Works Cited:
-When we work creatively, the idea develops right along with the image, As the project evolves we see other implications that go beyond our initial intentions.
Habits of Mind and Work
-Habits of Mind
-Flexibility
-Convergent, divergent and collaboratve problem solving strategies present distinct advantages and disadvanteges.
-Analytical thinking
-Designers are hired to solve a client's problem. Limitations imposed by time, materials and budget complicate matters. Analytical mind set helps the designer solve the real problem rather than wasting time on an imagined problem
-Capacity for Synthesis
-Synthesis my be defined as the capacity to combine separate parts to create a coherent whole.
-Two aspects of synthesis are particularly important for artists and designers
-One: they must be able to combine lines, shapes, textures and so on to create a compositional whole.
-Two: they must be able to apply past knowledge to new situations.
-Responsible Risk Taking:
-Risk-Takers are willing to risk failure in order to achieve success. They view setbacks as opportunities for growth.
Habits of Work
-Self Reliance
-Self-reliance creates an active approach to work.
- Rather than waiting for directions or blaming others for delays, each architecture student actively generates possibilities, weighs benefits, and makes choices.
-Organized Persistence
-It may take two weeks, but eventually organized persistence results in a solution.
-It gives the opportunity to prevail, even when we are faced with the most daunting task
-Daily Practice
-Daily practice helps maintain momentum.
-Work on something for an hour or so a night as opposed to working on it in one day in a month.
-Appropriated speed
-Slowing down to reframe a question and weigh alternative solutions is necessary in other cases.
-Knowing when to slow down and speed up is one mark of a "master learner"
-Valuing Alternative Viewpoints
-Listening to other, understanding diverse points of view, and considering alternatives expand our capacity to solve a wide variety of problems.
-Incremental Excellence
-Most art and design problems are best developed in a series of stages. Ideas evolve, skills improve, compositions are distilled.
-Direct Engagement
Talk is cheap, work is hard, the only way to survive most art and design problems is to get involved.
Establishing Criteria:
-Ask yourself these questions
-What is the purpose of the assignment?
-Does your teacher want you to learn any specific skills?
-What compositional and conceptual variables will you need to explore?
-What are the basic assignment parameters?
-Are there limitations in the size, style, or materials?
-When is the assignment due and in what form must it be presented?
Form, Subject, Content:
-Form: defined as the physical manifestation of an idea or emotion.
-Subject: (the topic) Is most apparent when a person, an object, an event, or a setting is clearly represented.
-Content: The emotional or intellectual message of an artwork provides its underlying theme (or content)
Stop, Look, Listen, Learn:
-Any of these three aspects of design can be discussed critically by partaking in a critique.
-Critique: where/when your peers or professors analyze your work.
-During a critique come with an open mind rater than with your fists closed.
-Objective criticism: used to assess how well a work of art or design utilized the elements and principles of design.
-It is based on direct observation and a shared understanding of assignment parameters.
-Subjective Criticism: used to describe the personal impact of an image, the narrative implications of an idea, or the cultural ramifications of an action.
-Discussion typically focuses on the subject and content of the design including: the meaning of the artwork, the feelings it evokes, its relationship to other cultural events, the artists intent.
Types Of Critiques:
-Description: Simply describe the visual organization of the work.
-A descriptive critique can help you see details and heighten your understanding of the design.
-Cause and Effect: (Formal Analysis): builds on this description in a simple description, you might say that the design is primarily composed of diagonals.
-Compare and contrast: Similarities and differences between two images are noted.
-Greatest strength/ unrealized potential: Many projects have one notable strength and one glaring weakness. To create a positive atmosphere, start by pointing out the strength in the work.
Works Cited:
Steward, Mary. Launching the Imagination: A Comprehensive Guide to Basic Design. 4th ed.
New York, Ny: McGraw-Hill, 2012, 2008, 2006, 2002. Print
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