http://www.danholdsworth.com/projects/
Thursday, November 11, 2010
Saturday, November 6, 2010
Friday, November 5, 2010
Friday, October 29, 2010
testing color
You will find the color exercise pdf on BlackBoard under HOMEWORK for Thursday Oct 28.
Again the color part of this project is to LEARN how to use color, it may help your composition/meaning of the word, it may not (and that is fine!). Just do the color and try to make it work. here are some examples I tried with Joe's "disrupt" I added a box in some to try and give the illusion or more depth you may try that also. I used tints to try the illusion of transparency. THESE are NOT in any order, THEY are not ALL five of what you are to do. They are just examples to get you started THINKING and TRYING.
Again the color part of this project is to LEARN how to use color, it may help your composition/meaning of the word, it may not (and that is fine!). Just do the color and try to make it work. here are some examples I tried with Joe's "disrupt" I added a box in some to try and give the illusion or more depth you may try that also. I used tints to try the illusion of transparency. THESE are NOT in any order, THEY are not ALL five of what you are to do. They are just examples to get you started THINKING and TRYING.
Friday, October 22, 2010
Wednesday, October 20, 2010
Monday, October 18, 2010
Tuesday, October 12, 2010
Final Crit
Inclass today:
Add color to a drawing
Print your poster smaller onto 11 x 17.
Crit
You will need to work over Fall Break if you would like me to comment on your poster you may email me a PDF (save as pdf), must be a pdf.
Next week Tuesday Oct 19 will be the Final Crit, the last time we can look at your representations. So to make the best use of class you should have...
Adding color: take advantage of color. Use color in at least 3 of your representations (not counting photos). Try the background in color, try tints. Use just one color per square but you can use tints of the color and black and white. TRY this in class today BEFORE you leave so you have experience before you have to do this "alone".
1) your poster printed out (you can tile it full size, how to tile), trim and tape it together. PLUS have any other drawings you think could replace the ones on your poster. It is important that we see your poster so we can see everything in context, and how you use the box.
2) if you don't want to tile you poster your other option is to print it to fit on 11 x 17 AND then bring all your drawings 1 per page on 8.5 x 11. PLUS have any other drawings you think could replace the ones on your poster. It is important that we see your poster so we can see everything in context, and how you use the box.
Add color to a drawing
Print your poster smaller onto 11 x 17.
Crit
You will need to work over Fall Break if you would like me to comment on your poster you may email me a PDF (save as pdf), must be a pdf.
Next week Tuesday Oct 19 will be the Final Crit, the last time we can look at your representations. So to make the best use of class you should have...
Adding color: take advantage of color. Use color in at least 3 of your representations (not counting photos). Try the background in color, try tints. Use just one color per square but you can use tints of the color and black and white. TRY this in class today BEFORE you leave so you have experience before you have to do this "alone".
1) your poster printed out (you can tile it full size, how to tile), trim and tape it together. PLUS have any other drawings you think could replace the ones on your poster. It is important that we see your poster so we can see everything in context, and how you use the box.
2) if you don't want to tile you poster your other option is to print it to fit on 11 x 17 AND then bring all your drawings 1 per page on 8.5 x 11. PLUS have any other drawings you think could replace the ones on your poster. It is important that we see your poster so we can see everything in context, and how you use the box.
Monday, October 4, 2010
Those of you that talked to me about what was what after the lecture and didn't have your assignment in front of you please read... number 13 and number 16 are not necessarily the same thing...
Bring All your representations to every class.
Mark your top 5 for each parameter (number)
Please make a word list or mind map(s) of your handtool: Function, Adjectives, Words that describe your object (heavy), what your object does (cuts or connects or pounds or ...) and Index.
Tomorrow we will be picking your best representation (all these are representations of your objects) for each peramter. If you have a lot of outlined drawings or stenciled drawings you are going to be in a pickle. EACH of the 20 need to be a different representation, a different way, a different exploration of how to represent.
You will be making the art in Photoshop and Illustrator. You will be using Illustrator to layout your final poster. Poster: 16 6 x 6 inch squares flush to each other (makes 24 x 24 inch square) leave 2 inch margins all around. Put your name at the bottom, in the margin, set your name in 18 pt type.
examples are on the sever and here are a few...
When working on the computer practice keeping your files organized. You will need a project folder and keep All your illustrator files and ALL your photoshop files, you will need your photoshop files with your illustrator file to print correctly.
You will have several illustrator files (sketches that you are working on to refine for the final and you will have a final file) and several photoshop files name them so you can tell what they are without opening them.
For the next classes continue to bring your drawing tools traditional and non-traditional, papers, and your computer. We will be critiquing and working in class. You will need to dedicate at least 9 hours a week of outside of class time to complete this project to the standards we expect.
Bring All your representations to every class.
Mark your top 5 for each parameter (number)
Please make a word list or mind map(s) of your handtool: Function, Adjectives, Words that describe your object (heavy), what your object does (cuts or connects or pounds or ...) and Index.
Tomorrow we will be picking your best representation (all these are representations of your objects) for each peramter. If you have a lot of outlined drawings or stenciled drawings you are going to be in a pickle. EACH of the 20 need to be a different representation, a different way, a different exploration of how to represent.
thinking to AFTER tomorrow...
01 photos of object
this should be done if you need to reshoot it, then we can talk about that. at least have one printed out
02 must be gestural
hopefully you will have a very nice gesture that you will be able to scan in and clean up in photoshop and this one will be done
03 must be painterly - system of thick and thin strokes, calligraphic
you will hopefully be able to scan one of your drawings in and recreate it in illustrator
04 must be graphic: use only right angles, straight lines and (once on computer use only two stroke widths) you will hopefully be able to look at one of your drawings and recreate it OR be inspired to make something better
05 must use only circles, triangles or squares
you will hopefully be able to look at one of your drawings and recreate it OR be inspired to make something better
06 you must use the photocopier + cut/paste paper by hand
hopefully you have something interesting (and not all with a stencil) and you will be able to scan it in and clean it up in photoshop
07 use alternate marking tool, nothing traditional (no pencil/pen, brush, marker)
hopefully you have something interesting (and not all with a stencil) and you will be able to scan it in and clean it up in photoshop
08 must convey a specific meaning (use only one line)
one line does not mean just an outline so hopefully you have something interesting and can scan it in and clean it up
09 must convey a specific meaning (a functional characteristic)
really think about this and how it is made
10 must express the texture of your thing
really think about this and how it is made
11 must a hybrid: select best expression make "nirvana"; form that feels right.
this is your opportunity to take 2 (or more) different drawings that part of the drawing worked are were interesting in put them together.
12 must create an index of your object
what is sign, symbol, index: defined you can represent it by drawing or take a photo, ... no images from online (if you want to use photography you have to take your own image)
13 must convey a specific meaning (an adjective symbolically attached)
think about it
14 must be radical an extreme abstraction of another; bizarre
ABSTRACT: if you don't know what abstract is... google cubism, futurism, constructivism, matisse, picasso,... BIZARRE: strange, pushing scale, proportions, prospective, weird combinations
15 must explore making marks on "another surface";(no laser printer paper)
again not all as stencils or outlines any surface, rocks, wood, papers, glass.... you can photograph these drawings
16 must be entirely typographic (use a word that sums up your object, real or made-up)
the word can look like your object OR it can represent your object in it from. BASHED can look bashed in.
examples are on the sever and here are a few...
FOR FINAL
Make sure you always check blackboard, everything is spelled out there, including the objectives of this project and the requirements for the process book.
You will be making the art in Photoshop and Illustrator. You will be using Illustrator to layout your final poster. Poster: 16 6 x 6 inch squares flush to each other (makes 24 x 24 inch square) leave 2 inch margins all around. Put your name at the bottom, in the margin, set your name in 18 pt type.
examples are on the sever and here are a few...
When working on the computer practice keeping your files organized. You will need a project folder and keep All your illustrator files and ALL your photoshop files, you will need your photoshop files with your illustrator file to print correctly.
You will have several illustrator files (sketches that you are working on to refine for the final and you will have a final file) and several photoshop files name them so you can tell what they are without opening them.
For the next classes continue to bring your drawing tools traditional and non-traditional, papers, and your computer. We will be critiquing and working in class. You will need to dedicate at least 9 hours a week of outside of class time to complete this project to the standards we expect.
Thursday, September 30, 2010
Tuesday, September 28, 2010
A Design Thinkers Personality Profile
Contrary to popular opinion, you don’t need weird shoes or a black turtleneck to be a design thinker. Nor are design thinkers necessarily created only by design schools, even though most professionals have had some kind of design training. My experience is that many people outside professional design have a natural aptitude for design thinking, which the right development and experiences can unlock.
Here, as a starting point,are some of the characteristics to look for in design thinkers:
Empathy.
They can imagine the world from multiple perspectives—those of colleagues, clients, end users, and customers (current and prospective). By taking a “people first” approach, design thinkers can imagine solutions that are inherently desirable and meet explicit or latent needs. Great design thinkers observe the world in minute detail. They notice things that others do not and use their insights to inspire innovation.
Integrative thinking.
They not only rely on analytical processes (those that produce either/ or choices) but also exhibit the ability to see all of the salient—and sometimes contradictory— aspects of a confounding problem and create novel solutions that go beyond and dramatically improve on existing alternatives. (See Roger Martin’s The Opposable Mind: How Successful Leaders Win Through Integrative Thinking.)
Optimism.
They assume that no matter how challenging the constraints of a given problem, at least one potential solution is better than the existing alternatives.
Experimentalism.
Significant innovations don’t come from incremental tweaks. Design thinkers pose questions and explore constraints in creative ways that proceed in entirely new directions.
Collaboration.
The increasing complexity of products, services, and experiences has replaced the myth of the lone creative genius with the reality of the enthusiastic interdisciplinary collaborator. The best design thinkers don’t simply work alongside other disciplines; many of them have significant experience in more than one. At IDEO we employ people who are engineers and marketers, anthropologists and industrial designers, architects and psychologists.
–– excerpt from Harvard Business Review, Design Thinking, Tim Brown
Here, as a starting point,are some of the characteristics to look for in design thinkers:
Empathy.
They can imagine the world from multiple perspectives—those of colleagues, clients, end users, and customers (current and prospective). By taking a “people first” approach, design thinkers can imagine solutions that are inherently desirable and meet explicit or latent needs. Great design thinkers observe the world in minute detail. They notice things that others do not and use their insights to inspire innovation.
Integrative thinking.
They not only rely on analytical processes (those that produce either/ or choices) but also exhibit the ability to see all of the salient—and sometimes contradictory— aspects of a confounding problem and create novel solutions that go beyond and dramatically improve on existing alternatives. (See Roger Martin’s The Opposable Mind: How Successful Leaders Win Through Integrative Thinking.)
Optimism.
They assume that no matter how challenging the constraints of a given problem, at least one potential solution is better than the existing alternatives.
Experimentalism.
Significant innovations don’t come from incremental tweaks. Design thinkers pose questions and explore constraints in creative ways that proceed in entirely new directions.
Collaboration.
The increasing complexity of products, services, and experiences has replaced the myth of the lone creative genius with the reality of the enthusiastic interdisciplinary collaborator. The best design thinkers don’t simply work alongside other disciplines; many of them have significant experience in more than one. At IDEO we employ people who are engineers and marketers, anthropologists and industrial designers, architects and psychologists.
–– excerpt from Harvard Business Review, Design Thinking, Tim Brown
Thursday
If you have illustrator on your laptop bring your computers to class on Tuesday and Thursday. Also thinking a head...
start collecting different types of paper including a newpaper, newsprint, canson, fabric, sandpaper, tissue paper, toilet paper, paper towel, wood, ect - you get it anything you can draw on besides the white paper we have been using. Have a stack of stuff.
start thinking about the function of your object and bring materials that you would need to represent the function of your object. think about it, all the things your object could do, not just what it does.
always bring your object and traditional drawing tools, non traditional, ink, paint, stamp pad...
start collecting different types of paper including a newpaper, newsprint, canson, fabric, sandpaper, tissue paper, toilet paper, paper towel, wood, ect - you get it anything you can draw on besides the white paper we have been using. Have a stack of stuff.
start thinking about the function of your object and bring materials that you would need to represent the function of your object. think about it, all the things your object could do, not just what it does.
always bring your object and traditional drawing tools, non traditional, ink, paint, stamp pad...
Sunday, September 26, 2010
Illustrator CS5 Essential Training>5. Drawing and Editing Paths>Smoothing and erasing paths
Illustrator CS5 Essential Training>5. Drawing and Editing Paths>Drawing straight paths with the Pen tool
Illustrator CS5 Essential Training>5. Drawing and Editing Paths>Drawing straight paths with the Pen tool
Illustrator CS5 Essential Training>5. Drawing and Editing Paths>Drawing straight paths with the Pen tool
Illustrator CS5 Essential Training>5. Drawing and Editing Paths>Drawing straight paths with the Pen tool
Understanding anchor points
Illustrator CS5 Essential Training | by Mordy Golding
View this entire Illustrator course and more in the lynda.com Online Training Library®.
Subscribe to:
Posts (Atom)