Below are common deadline for all sections. Some instructors may ask for additional deliverables or provide more details
– Bring results of both of your extended units to pin up or display for a walkabout
– Critique in your section
– Bring actual reflective document. Overview of that.
– Send electronic files to your instructor for results of all units and reflective document: a minimum of six files (pdf, etc.). This may be done via Dropbox, email, etc.
– Work from outside this class is also required for sophomore review. The above is what is needed from DS2.
Map and sketch a day of your routine actions (as the examples that I have presented in my lecture): walking to school, having coffee, meeting a friend or going to a place such as library, etc.
Frame a specific part of an instance (actions) into a simple event(s) but with some kind of visual details, this should help you to create a concept or idea for your narrative with at least two images or a sequence of images through which we would visually witness a change from one image to the another image (before and after the event or action).
The sequence of your narrative study can be presented as a print exercise, there is no limit to which media or size of the print, large or small or even can be a PS animation for web banner.
To take the second part or another topic and make a more in-depth video narrative which are made up of several sequence of event(s) around a minute.
The extenuation part of unit 9 would address in-depth the notion and concept of mise-en-scène in relation to narrative and story telling which means:
The arrangement of everything that appears in the framing – actors, lighting, décor, props, costume – is called mise-en-scène, a French term that means “placing on stage.” The frame and camerawork also constitute the mise-en-scène of a movie.
We would make and design projects based on:
1. What to shoot.
What is to be Visualized (filmed)
2. How to shoot it.
How its Visualized – (framing)
3. How to present the shot(s)
How to put together the visual material to make sense
and tell a coherent narrative – (editing)
Choose a manual action to automate, or choose an automated process to make manual.
This assignment asks you to consider how what we make as designers effects human interactions on the micro and macro scale.
Note your everyday actions; go out of your way to notice where technology is present. When do human interactions occur? How would the introduction of automation enhance or hinder the interaction. What would the advantages or disadvantages be if automation took over? How can you use sarcasm, exaggeration, appropriated voice to make a point?
For next week: Make a presentation showing your source material, and propose various possible re-envisionings. Your proposal may use: other designer’s work as reference, texts, sketches, actual designs, etc.
How are the scenarios different? What are its effects on social interaction? What is your point of view about technology’s social role through the project you are proposing?
Extended Portion: Create a finished prototype or proposal
This introduces the common phenomena of (visual) pattern: repetition and periodicity.
Observe what unfolds. Allow the possibilities to show up naturally.
Work in teams of two or three (to compare notes for quantity and quality of inquiry) throughout this one-week portion, and observe and share what you are learning.
However, each of you remains responsible for your own results from your inquiry.
Design “module” (a single unit, cell): a square divided about equally in black and white. Look at options: geometric, organic; module as system or not.
Experiment with modules to see how they operate as patterns (7.2).
Eventually select ONE module unit and only use this one module.
First repeat the module in a squared grid (25/5×5, or 36/6×6) to create a simple pattern. Then vary the rules for repetition and periodicity in this grid.
Make as many variations as possible to generate diversity, dynamics, and uniqueness. Unit 2.2.1 — Notation system
Develop a simple (visual) notation system to show the operating system(s) of your patterns. Use this notations system to keep track of the systems used for each pattern.
After working with a squared grid, experiment with (systemic) grid shifts (offsetting verticals, horizontals, or angles), but retain a solid field, and avoid new shapes/modules.
Make a digital presentation to include:
• studies of the module, and selection of final module (and its system);
• process of pattern studies and experiments;
• selected patterns (for diversity, interest, comparative uniqueness);
• the notation systems for each pattern (i.e., to make the “system” visible). • summary as to what was experienced, observed and learned.
After class review reflect on this project individually!
Write about your experiences, the phenomena you observed, and what you learned. In write your reflective insights add visual samples as needed.
Email (pdf) this to your section faculty by Friday or Saturday!
(Don’t delay this task—do it when your mind is still IN the learning process!)
Get from one website to another without using the keyboard or the back button.
How can designers use collaborative methods to generate content and stimulate projects?
Graphic design, more often than not, is a practice realized through some form of collaborative process. Working in pairs, this unit expands upon preconceived notions of collaboration, and promotes a method of making that emphasizes spontaneity and responsiveness — encouraging pro- and re-active design situations that generate content, champion indeterminate endpoints, and require participants to be adaptive and relinquish control. Democracy is founded on the inalienable right to freedom of expression, a luxury at times taken for granted.
Prompted by the binary nature of sporting events, such as tennis; games of chess, rap battles, courtroom drama, and political debates — each participant will be required to take an opposing stance and generate a visual response. These visual exchanges can be Subjective or Objective in nature, as the initial focus is not on, what you say, but rather how (inspired by why) you chose to say it. Subject matter is undefined and will vary — being a product of the week long volleys. For week one, follow two strategies:
Construct your piece into your space in a way that allows the viewer to navigate themselves through your concepts and ideas. This can be through video, environmental design, installation, and other interventions. Some sections have been asked to place their “Expand” object within the site as a way to help communicate the overall process of arriving at the final piece.