FNDT 108 S050 Creative Processes [ Headstart in Art ] Spring 2010

 

 

TIPS & TRICKS


Sketchbooks & notebooks
It is recommended you keep a sketchbook as a place to store your ideas and concepts. I will check the progress of your sketchbook and any out-of-class work you store in them.
Pencils, hard and soft lead
Pens, blue or black
Sharpie markers in a variety of sizes, making sure that you have an ultra fine tip pen included
Various weight & texture paper
Colored pencils
A 9x12 or larger drawing pad
A pad of tracing paper
Erasers; kneaded rubber, "Pink Pearl", artgum...choose your favorite
A folder or binder to store handouts and drawings
A ruler, metal is preferred
A roll of masking or drafting tape
Exacto knife and blades
Charcoal, vine or willow charcoal
Black ink (i.e. India ink- not waterproof)
Bamboo brush
A can of spray fixative to protect your pencil drawings. (Hair spray is a traditional substitute.Test first on a sample drawing)


It is a wise to acquire a protective container or map to carry large pads and drawings.

Sketching + Process

The first is the training of your mind, brain and body to better perform drawing. Second, is the identification of communication objectives and problem solving to achieve those objectives. Third, is employing both the analytical and intuitive thought processes in the generation of concepts.
When creating thumbnail sketches use the following Techniques for Creative Thinking:
1 Write a listing of “visuals” associated with the product or service
2 Write a listing of “words” which describe the feeling of the product or service
3 Change the focal point
4 Try Symmetry vs. Asymmetry
5 Try taking one good idea and doing several variations on it
6 Try visual analogies
7 Try using a “what if”
8 Try using “type” as the main graphic element
9 Reverse a visual or color of an image
10 Use an unusual visual or a visual unrelated to the product/service
11 Bring 2 different things, images, or objects together to make a new one
12 Change the scale of things.
13 Emphasize the size of something or compare the size to make a point
14 Used a strange point of view. An unusual or unexpected angle.
15 Compare things. (Man to a mouse, Luck of another)
16 Borrow from language
17 Look to nature (use shapes, feelings, textures, etc.)

Creative PHASES or steps

• The Problem: Carefully define the problem you are trying to solve.
• Design Brief and Specifications: Clearly state what you want to accomplish.
• Investigation/Research: Find information that will help you.
• Development of Possible Solutions: Create a number of plausible alternative solutions to consider.
• Choosing the Best Solution: Select the alternative that best fits what you want to accomplish.
• Development: Determine and plan in detail how you will construct a prototype of your solution.
• Making the Prototype: Build or create a working model of your solution.
• Testing: Determine through appropriate testing if your solution works.
• Evaluation: Assess the design process you used, the effectiveness of your solution, and propose possible improvements.


Project presentations ideas + concepts
In writing: Concept design written report, illustrations, photos and screen-shots. At least 2 pages. Be sure to briefly summarize the distinguishing characteristics of your target/audience. Please provide 2 copies. with cover sheet showing name(s), and date.
For the project, you should have a sketch, mock up, storyboards, wireframes, or whatever you believe documents how you want the site to connect with your audience.
Show: your proposed information architecture(s). For the display, you must have a sketch (thumbnails, brainstorm).
Think: How much information makes sense to display and what sort?
Grading: on the thoroughness of the report, the quality of care given to the concept design, and the overall creativity shown.

presentation tips

A summary of your target audience. How your proposal is reaching and solving the problem between client and audience? What communication strategies are you using? This should be no more than 20% of your presentation.
Skills: techniques, professional aspect (paper quality), visible intentions (size, impact)
Multimedia: Since we want to really understand what you are proposing, take us through your thought processes via different media (text, prints, digital, video, etc).
Essence: Capture the audience. Be concise, effective and professional. Avoid unrelated and long talks/descriptions.
Grading: on the execution of the work, the quality of care given to the resources/materials, and the overall professional quality shown.
Feedback: Students will be asked to provide you with feedback based on the presentation and the written concept report, so remember that you are talking to the PUBLIC. All must clearly understand your idea.

Sketchbooks + research tips
Name-title your sketchbooks
Keep the Journal of Design Research
Use the Swiss Knife technique (variations on theme)

 

Traditional paper sketchbooks
University of Florida
One of the links from Drumcroon is to the pages on the University of Florida's art education website that look at how to get started keeping a sketchbook with examples of artists' books and instructions on how to make your own.
Dan Eldon
Particularly engaging is the site of a young Californian photojournalist and war correspondent, Dan Eldon, who was killed in Mogadishu in 1993. From the age of 15 he kept notebooks. These are reproduced on his website as interactive facsimile pages and will give students another fascinating introduction to keeping a personal journal or sketchbook.
http://www.lboro.ac.uk/departments/ac/tracey/sketchbook.html

Tracey
Tracey is the Contemporary Drawing Research website of Loughborough University School of Art and Design, which promotes drawing as a way of collecting information, working out ideas or solving problems and 'as a form of "visual thinking"'. The site has an online collection of sketchbooks and visual notebooks that will stimulate and inspire pupils, students and other artists alike. There is also an interesting gallery of 'found drawings' (which they define as possible 'by-products of other processes, organic forms or discarded materials - images arising by accident rather than from any conscious process.') that range from vapour trails to stains on a pavement and cake crumbs. Contributions are invited.


 

 

 




 

 


 

Course Content and Schedule of Instruction - please note: the course is divided in 4 chapters

green = homework

blue = project

COURSE OUTLINE PDF file
___________________________________________________________________________________________
PART I interpretation

project 01 instructions PDF file
Day One
Jan 6

Formal Analysis of artworks: methods and techniques; Sketchpad + Various pencils
Overview of the course
Demo/Lecture: Ways of Seeing
Exercises: Visual elements
Homework: start a scrapbook. Collect sketches, texts, images related to your work.

Useful links: interactive art history http://smarthistory.org/ artwork analysis link to a website /example Renaissance as inspiration - scroll to Mona Lisa http://renaissanceandart.blogspot.com/2007_04_01_archive.html

Important-text on style definitions + terminology PDF file / 8.9 MB


Day Two Jan 13
Art history as inspiration; variations on a theme; learning from the Masters
Various pencils + soft pastels: Composition elements
Homework: Work on the Project 01

Formal analysis of media + artworks http://cda.morris.umn.edu/~dabbsj/princ2sl.lst3 basic visual culture lesson http://www.getty.edu/education/teachers/classroom_resources/curricula/looking_learning_midhi/looking_learning_midhi_lesson02.html

Day Three Jan 20 Project 01 presentations

 

PART II inspiration

project 02 instructions PDF file
Day Four
Jan 27
Nature as inspiration
3D modeling Modeling clay Ergonomic form/object in clay
Homework: make 3 different objects using the same natural resource

nature as inspiration http://www.art-is-fun.com/nature-in-art.html

Day Five Feb 3
Biomimicry, natural resources; working with Modeling clay
Various 3D materials
Homework: Work on Project 02 (ecodesign)

sustainable design http://sustainabledesignupdate.com/

Day Six Feb 10 Project 02 presentations

 

PART III expression

project 03 instructions PDF file
Day Seven Feb 17
Expressions: mark making, dynamics, gesture; Water based ink & brush, paint
Homework: explore and make your basic "emotional language" in visual form

link to video/film emotional elements http://www.cybercollege.com/tvp023.htm

Day Eight Feb 24
Emotional intelligence; color and form; ratio VS chance: sign, icon; performance as art;instructional drawings; Mixed drawing and painting techniques
Homework: Work on Project 03

Day Nine Mar 3 Project 03 presentations
Homework research: Read story “Little red riding hood” + Research on synaesthesia


PART IV
creation - “Little Red Riding Hood”

project 04 instructions PDF file
Day Ten Mar 10
synaesthesia; media of creative expressions; sound visualization; Mixed media (images, words, music)
Homework: make a variation on the story using Cartoon + Sound

link creative cross-referencing http://serdar-hizli-art.com/art/creative_process.htm

Day Eleven Mar 17
“Little Red Riding Hood”: media of creative expressions; painting and smell Mixed media Painting + smell
Homework: make a variation on the story using Painting and Smell

Color palette of the Masters http://www.colourlovers.com/blog/2007/06/20/color-inspiration-from-the-masters-of-painting/

Day Twelve Mar 24
“Little Red Riding Hood”: media of creative expressions: photo and taste Mixed media Photo + taste Homework: make a variation on the story using Photography and Taste

photo and taste http://photobucket.com/images/food%20art/

Day Thirteen Mar 31

“Little Red Riding Hood”: media of creative expressions; Mixed media Video + touch

Homework: make a variation on the story using video and touch

video art http://www.videoart.net/home/index.cfm

 

Day Fourteen Apr 7 - Total artwork Mixed medi + installation art ; Prepare final presentation

multimedia artist http://www.viswiki.com/en/Multimedia_artist

Day Fifteen Apr 14 Final Project presentations

 

Grading
In case of discrepancies, Emily Carr Policies will superceed the following:
LetterGrade Percentage Points out of 10 Points out of 15 Description
A+ [95-100] 9.8 14.6 Distinguished Achievement
A [90-94] 9.2 13.8 Outstanding Achievement
A- [85-89] 8.7 13.1 Excellent Achievement
B+ [80-84] 8.2 12.3 Very Good Achievement
B [75-79] 7.7 11.6 Commendable Achievement
B- [70-74] 7.2 10.8 Good
C+ [65-69] 6.7 10.1 Competent
C [60-64] 6.2 9.3 Satisfactory
C- [55-59] 5.7 8.6 Pass
D [50-54] 5.2 7.8 Marginal Pass
F [0-49] unacceptable unacceptable Fail
I Incomplete Grade
W Withdrawal from a course

In this course, when a letter grade is given for a specific assignment, the median percentage is assigned for final calculations. For example, if you receive a B+ on a specific assignment this will count as 82% when calculating final grades.


IMPORTANT NOTES:
ALL ASSIGNMENTS AND IN-CLASS EXERCISES TO BE RETAINED IN A PORTFOLIO AND RE-SUBMITTED TOGETHER WITH THE FINAL ASSIGNMENT ON ITS DUE DATE. This is to allow a final comprehensive term-end review of progress through the term.
ALL ASSIGNMENTS MUST BE COMPLETED AND SUBMITTED TO RECEIVE A FINAL GRADE.
ATTENDANCE MANDATORY EXCEPT WITH PRIOR PERMISSION OR MEDICAL NOTE. 85% of classes must be attended to pass (This means you can miss a max of 2 classes).

Terminology
Ideate
Ideation is the process of creating ideas. Within the realm of product development, it often refers to the creative component of the design process, in which solutions are put forward, built upon, and used to spawn new solutions.
Ideation can involve many different techniques, and different people find more success with some techniques than with others. Typical methods of ideation include brainstorming, sketching, problem dissection and analysis, sketch modeling, and experimentation.
Brainsketch or Brainsketching
Brainsketching is a group creative method that uses sketching and drawing to generate a large breadth and quantity of ideas. An offshoot of brainstorming, a brainsketch exercise involves each person in the group sketching or doodling a concept solution to a particular problem. After a time, each person passes his or her sketch to the next person who then continues to build and grow the idea. After a while, all ideas are pulled together for evaluation and discussion.
Brainstorm or Brainstorming
Brainstorming is a classic creative technique that can be employed in group settings. The goal of a brainstorm exercise is to generate a large quantity of ideas and solutions in a relatively short period of time.
Brainstorming should be a blue-sky, non-critical exercise that encourages uninhibited thought. Thus, even ideas that seem bad or silly should be shared during brainstorming. Following the session, Reverse Brainstorming is used to critique ideas and narrow the field of viable solutions.
Concept Development
Concept Development is the process of generating ideas and problem solutions, building on those ideas, merging ideas, and evolving ideas into more robust solutions.
Concept Generation
Concept Generation is the process of creating concepts of solutions to problems. Within the realm of product development, concept generation usually refers to the element of concept development specifically associated with creating new product ideas.
Creative Session
A creative session is a meeting specifically for the purpose of exploring new creative territory within a chosen subject matter. Typically, a creative session will include many activities such as brainstorming, problem analysis and dissection, brainsketching, and reverse brainstorming.

Ergonomics
Ergonomics is the science of creating products, spaces, and experiences to fit the natural tendencies of the user, rather than forcing the user to conform to the created product, space or experience.
Ergonomics is often a critical component to successful product design. A consumer will often perceive a more comfortable product as having more value. Ergonomically appropriate products can help to build brand loyalty.
Focus Group
Focus groups are a common tool used for market research. A focus group usually consists of a small group of people within the target market of the concept being tested. A facilitator guides the group through discussion or interaction with the concept. These events can be very valuable because of the outside opinions they provide, and because of the ability to use the session to evaluate the group's emotional responses to the products or experiences being tested. .
Focus groups can be used to compare a variety of concepts prior to production, for getting insight into the color scheme preferences of the target market, and for answering any number of other questions involving the target market's response.
Form Follows Function
First coined by the American architect, Louis Sullivan, at the end of the nineteenth century, the phrase "form follows function" has become a mantra for many product designers. The basic meaning of the phrase is that the appearance, shape, and method of use of the object (the form) should naturally be derived from the intended purpose (function) of the object. Thus, a chair should look like, work like, and feel like something a person is to sit in.
Photo Realistic Rendering
A photo-realistic-rendering is a computer generated flatwork illustration of an object or scene. These renderings simulate lighting, materials, and environmental effects to create the illusion of reality.
Often, it is necessary to present product concepts in a realistic way before production has occurred. Ray-traced photo-realistic renderings give designers the opportunity to simulate reality even for early concepts
Aesthetics
Aesthetics is a philosophical concept which deals with the notion of beauty. Since beauty is 'in the eye of the beholder', it is not possible to quantify aesthetics. An object, song, or experience that one individual finds aesthetically pleasing, may be totally offensive to another individual. This is among the reasons why our society has so many different options in products, cuisine, music, and other sensory experiences.

Product aesthetics is a more specific subset of aesthetics. Products are often referred to as having specific aesthetic characteristics, such as a futuristic aesthetic, a feminine aesthetic, etc. Product design seeks (among other things) to match an appropriate aesthetic with the target consumer.
Design
Design is the act of creating a plan for something. Within the realm of product development, design is the process of converting a product need into plans for a manufacture-ready product. Design in this sense can be subdivided into a number of other fields including primarily industrial design and design engineering. Additional sub-categories include package design, interface design, design for manufacture, ergonomic design, and numerous other specialties.
For a product to be successful, the design of that product usually should include industrial design (which focuses on the user aspects of the product including form, aesthetics, consumer appeal, ergonomics, etc.) and design engineering (which focuses on the function and manufacturability aspects of the product).

Product Illustration
Product illustrations are two-dimensional 'flatwork' representations of products. Typically, they show a product's outward appearance and basic functionality. A product illustration can take many forms, including everything from simple sketches to sophisticated computer-generated renderings.
Product Rendering
A product rendering is a flatwork illustration of a product. Renderings typically have more depth than sketches, and include light, shadow and color effects. A designer can create renderings physically with paper and art tools, or digitally using a variety of software.
Often, it is necessary to present product concepts in a realistic way before production has occurred. Ray-traced photo-realistic renderings give designers the opportunity to simulate reality even for early concepts.
Product Semantics
Product semantics is a field of thought based on the idea that a product's form should readily communicate the function of the product. Thus, a product with good product semantics would typically not require the user to read a manual before beginning use.
To observe the principles of product semantics, a handle should look like, and feel like something that is to be turned, a knob should be something to be twisted, and a button should obviously be pushable.
Product semantics has also been extended in some cases to include the application of personality attributes to products. For instance, the Volkswagon Beetle is a ‘happy product’.