Class 14 - Homework - February 28

Assignment 1— Process and Action: Verbs as Creative Raw Materials

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Due: At the beginning of class Thursday, March 7th, 1:00pm sharp
Format: Fill out three worksheets and affix into the pages of your logbook (use the metaphor worksheet) and recorded in the index.

Use Metaphor worksheets. Think of processes or actions that relate to your idea and direction and use each as a source for coming up with three different sheets of interesting process or action possibilities to use in your work.

Notice of Future Assignment

Modular Form Project

Summary

The modular form project has three main components. Each component should represent a part of the argument, comment, or question you are presenting to your audience. When thoughtfully and patiently developed and composed this combination of elements will combine into more than the sum of the parts.

1. Many identical ready-made objects (which you will use as the basic material for sculpting the next part).

2. A 3 dimensional form or representational object (sculpted, formed, or skinned out of the objects above in item 1).

3. A context or setting for the large object (item 2) made of small ready-mades (item 1).

In the first phase of this project you will only actually make using the first two items above, but think ahead to what might be suitable for item 3, which you will integrate in the second phase of the project.

Overview

The modular form project is a platform for developing an appreciation for the role that material choice plays in constructing artistic content. Furthermore, it explores creating a whole image out of a large number of identical parts. Lastly, it investigates creating content within a whole image through choice of ready-made objects and their arrangement so that visually, the parts are transformed or even partially lost through repetition.

• For now, investigate possible object choices for this project. Later you will find or purchase the objects that potentially reference some important aspect of your current thematic direction. Remember, the objects you use must be identical, not variations of one or more similar 3D forms. Further, you cannot make these objects; they must be pre-made or manufactured all alike. (Two exceptions: First, a set of identical forms of varying color, like colored thumb tacks, second, a set of a groups of similar objects, like a bag of 100 army men that feature soldiers in five different poses).

• Think of possible forms that could act as armatures or substrates and also of adhesives to aid with your construction, as you will need structure to give the object you make strength and shape. Hot melt glue, rubber cement, and super glue have often been useful to students doing this project.

• Eventually you will also consider environment as context and will be allowed to compose the 3D form you make within or in front of real or fabricated environments or backgrounds. The final work will be 2D.

• Some terms to research: multiple, repetition, pattern, skin, structure, armature, aggregate, module, individual, collective, form

Assignment 2 - Modular Form Project Artist Research
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Due: Thursday, March 7th 
Format: Completed in the Idea Logbook and indexed

Artists Who Work with Modular Form
Research the following artists and their usage of ready made objects:
• Tara Donovan
• Jean Shin
• Willie Cole
• Chakia Booker
• Allan McCollum
• Brian Jungen

The evidence you collect for inclusion into your logbook should be visual examples of work paired with your written analysis for each of the names above. In the Modular Form Project, we are asking you to make a form using at least 20 unaltered, exact in every detail objects. Which of these artists does what we are asking for best?

Assignment 3 - Modular Form Experiments

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Due: Thursday, March 7th

Format: three 2D sketches (photographs or drawings) done in the logbook and indexed correctly.

This assignment is meant to help you design your project by asking you to develop a set of options for thematic direction, material choice, and overall 3D form. From these options you can make informed decisions, rather than being limited by your first idea.

Instructions

1. Develop two or more potential topic directions to explore with this project.

2. Then, identify 3 or more different ready-made objects that you believe refer to important aspects of each of your potential topic directions. The materials that you choose as potentially useful references should also be items that you could easily find or buy in exact multiples (cost should not always be your guiding parameter).

3. Think of at least two overall forms (or objects) that also relate to your direction. For each overall form identify what kind of supporting structures (skeletons or armatures) would aid in the construction of said large objects.

Here is one example:

Topic: Integrity

Direction: Integrity is fragile

Ready-made object: plastic Easter eggs

Configurations of objects into a form: eggs combined to form a hammer

2 possible armature structures for each form configuration: an actual hammer to glue the eggs to or a wire armature I construct to attach the eggs to.

After choosing 3 potential ready made objects, make a developmental sketch for each that demonstrates what the objects will form. If you would prefer to buy some of these objects and use Rapid Idea Sketching skills instead of drawing, that will be acceptable as long as there are at least three experiments.

summary:

• identify topic

• identify at least two topic directions

• identify and use at least 3 ready made objects that refer to your topic and direction

• identify at least 2 possible forms that the above objects could construct

• identify at least 2 possible support structures for each of the above forms

• 3 sketch minimum showing different attempts with different ready-made objects

These all need to be in sketch form. Make a list or summary at the top corner of

each sketch or photo like the egg example above to be clear.

Assignment 4: Modular Form Experiment Process Notes

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Due: Tuesday, March 19th 

Format: Completed in the Idea Logbook and indexed

Written analysis:

Write a description of the object(s) and experiments you construct. In the description(s), include:

• How the materials relate to your topic

• How the overall form relates to your topic

• At least two discoveries about the objects, overall form(s), content, or what you have learned during your experiments for this project.

This may be a list instead of a paragraph

Assignment 5 - Modular Form Object

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Due: Tuesday, March 19th 

Format: As a 3D form, completely in the round. Brought in at the beginning of class 1:00pm sharp.

This final piece must be 'in the round'. In other words, you should be able to look at the work from all sides. Be sure to use at least 20 ready-made objects for this part of the project. All readymade objects must be 3D forms.

Assignment 6 - Statement of Intent (and Context Possibilities)

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Due: Tuesday, March 19th 

Format: as a typed and printed document, with the correct heading, brought to class and presentable by 1:00pm sharp.

First, as plainly as possible, describe the topic and direction of your modular form project (in no more than three sentences). Second, list the ready made that you used to build the overall form and describe how it relates to your topic and direction. Next, list the overall object that the readymades form and describe how this 3d object relates to your topic and direction. Finally, list at least 3 possible contexts (environments, settings, backdrops, etc.) this object could be placed in, and describe how each context could impact and reinforce the content of the overall work.

As you complete this exercise consider that the elements in your serial form project (ready-made, overall 3D form, and context) should flow together into a whole creative visual argument.

Class 13 - Homework - February 26th

Assignment 1 - Self-Evaluation

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Due: Tuesday, March 5th 1:00pm

Format: As a printed document with the proper heading as outlined in the syllabus brought to class, ready to be handed in by 1:00pm

Archive

It is now the middle of the semester and we are almost ready to start the Sequential Creative Process over again. Before revising, recycling, and reviewing your topic for future projects, we will complete a self-evaluation exercise to recap your use of the Sequential Creative Process thus far this semester. All of you have made strides towards defining your own interests and creative direction. You have been exposed to a creative system designed to help you make better decisions and better artwork. Many parts of the Sequential Creative Process ask that you engage in introspection. When you take an honest look at your work and progress what do you see? In the spirit of honesty, approach this evaluation as if you were a practicing artist outside of the academic setting. Peer and professor support are unavailable for consideration and earning grades are not a motivation. Instead, your motivation is to improve your artwork both conceptually and formally. For this exercise try to evaluate your performance in an open and thorough manner.

Copy and paste these questions into a Microsoft Word document and answer each completely in typed writing:

1. What topic am I pursuing? (At this point, you should be focused on one topic)

2. What specific directions am I pursing or focusing on in regard to this topic? (List three)

3. How has/have my idea(s) progressed from its beginning to the present?

4. What idea(s), pertaining to your topic, are you trying to communicate specifically? List

each.

5. What idea(s) specifically, pertaining to your topic, are you having difficulty List and

communicating? Explain the difficulty for each?

6. Are the idea and these directions still compelling to me? If not, how can I change or

directions transform my efforts thus far into something that compels me?

7. What phases of the Sequential Creative Process are hardest for me to follow? List.

8. Why are these phases hard to follow? Explain for each.

9. How can I change what I am doing to make these phases easier to follow? Be specific for

each.

10. What means of expression are difficult for me (i.e. literal, representational, symbolic, metaphoric, abstract, conceptual, written, verbal)? Give specific reasons for your difficulties.

11. How could I make these means of expression easier for me to work with? Give specific possible solutions.

12. Explain how you have set challenges for yourself outside of what is being asked of you in assignments.

13. If you had to assign a grade to your work process, what grade level do you think you have achieved so far? Give specific reasons for why you merit this grade level.

14. If you had to assign a grade to your work execution and presentation what grade level do you think you have achieved so far? Give specific reasons for why you merit this grade level.

15. If you had to assign a grade for your class participation, what grade level do you think you have achieved so far? Give specific reasons for why you merit this grade level.

16. What could I do differently to enhance the classroom experience of my classmates?

17. What could I do differently to enhance my own experience in the classroom?

18. If you could step outside of your work and your experiences, what conclusions do you think others might draw or perceive about you as an artist in regards to: gender, race, culture and or age?

19. How might the perceptions from the question above interfere with how others interpret your work?

Assignment 2— Critique Advice Write-Up

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Due: Next Thursday, March 7th 1:00pm

Format: Printed and pasted into your logbook with proper heading and indexed as outlined in the syllabus. Save in your digital archive.

In class you took notes while listening to what the professor and critique group had to say about your intent as it compared to the visual evidence (product) you made for the one-hour project. Transform these notes into a synopsis that includes the

• advice given to you

• your analysis of whether or not you agree with that advice.

• how you might implement that advice should you make more work with a similar intention

Don't just state that you agree or disagree. Instead explain your reasons for agreeing and disagreeing with what was said to you and explain how you could take this work forward.

Class 12 - Homework - February 21st

Dear Students-
On Tuesday, we will meet in Callicott first. Also, we will be executing the one hour project during class. PLEASE do not start on your work until your professors have made arrangements to divide the class into three groups. If you do start working, you will most likely be asked to move.
We look forward to seeing your work.
Team IPC

Assignment 0 - Project Prescription

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Format: A handout that you can download on this page with items of what to do listed for you to follow when developing projects. Completing these lists in your logbook for each project will help you with fulfilling the logbook requirement for the course.

This is a checklist of sorts, with specific things to do each time you are assigned a project to develop. This listing of actions will also help you fill the pages of your logbook in such a way that you can receive credit and improve your logbook grades. Please use it often and complete each task thoroughly.

Assignment 1 – Metaphor Exercise

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Due: Thursday, February 28th, at the beginning of class

Format: Complete four worksheets (download by clicking on Metaphor Worksheet in the sidebar). On the first two worksheets focus on objects. For the other two worksheets focus on materials, as in raw materials that you can build something with. Every source you use should somehow connect to your overall idea and direction. Paste these completed worksheets into the pages of the logbook and index them correctly.

* pick two source objects and two source materials (raw materials): each should be central to an aspect of your theme (topic and direction)

* use the strategy for developing metaphors demonstrated in lecture to help you build potentially useful references for each of the three elements identified above

* fill out the worksheets. One source to each worksheet

Use the exercise demonstrated in class to discover additional object and material possibilities for current and future use (in making work about your topic/theme/direction). Do this exercise four times so that you end up with at least two metaphoric objects and at least two metaphoric materials in an effort to create interesting visual 'words' for your visual compositions. Remember that you are trying to create a metaphor in which A=B, meaning that B works as a credible and thought provoking stand in for A. This list of references can also be used as a guide for future research and as a reminder of useful visual language to use in compositions as a means for speaking to viewers.

Assignment 2 - Analogous and Metaphoric Image and Material Collection

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Due: Thursday, Februay 28th, at the beginning of class

Format: Completed and indexed in your Idea Logbook. At the very least, 16 different 2D images. Put these 2D images together in a baggie. Label said baggie and put it into the image collection envelope in the back of your logbook. Label this baggie with permanent marker as 'c12_a2'.

Now that you have at least four different lists of potential objects and materials based metaphoric references [assignment 1], collect 16 actual 2D images depicting these references, and or aspects of them.

Class 11 - Homework - February 19th

Dear Students-

Next Tuesday, February 26th we will be collecting your logbooks for midterm grading. Please be prepared and have all of your assignments completed and indexed. In addition, if you have loose research that needs to be pasted in and analyzed in writing, please remember to have this done too.

Best,

IPC

Assignment 1 – Idea Description

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Due: Tuesday, February 26th

Format: Typed and printed. Paste into the logbook and index correctly.

As you start on your next visual creations, pause first and collect your thoughts. Write out what you are hoping to investigate, question, play with, or speak about through the Rapid Idea Sketching exercise (below). This written intention will help guide the decisions you make as you experimentally construct meaning with camera and 3D objects. Summarize the current state of your idea. Where did it come from or what is it influenced by? If you have had trouble in the past describing your topic with specifics, than this is an opportunity to mention objects, contexts, and processes which you think might be relevant or expressive "actors" in your new compositions. Otherwise a brief description of your theme and direction will suffice.

3D Rapid Idea Sketching

Assignment 2 – Five Rapid Idea Images

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Due: Tuesday, March 5th 1:00pm

Format: As five separate, 8"x10", cleanly-printed color presentable images to pin up on the boards out in the hall of the school.

Use the Rapid Idea Sketching techniques demonstrated and discussed in class to make images (digital photos) which communicate an argument associated with your theme. As we have often said, your first idea is almost always not your best. The same thing follows for what you are doing here; Your first images will likely not be your best or even relatively close to your best. For this reason, you should work on editing what you do so that eventually, you transform your initial images into final ones that are of excellent formal and conceptual quality.

With that said, from the first draft of images you make, select a small group that show potential and communicate aspects of your idea reasonably well. Remake and improve these to create a second draft. Again, select a small group that show potential and communicate aspects of your idea reasonably well and develop these into a third and final draft. From this draft choose five images that are compelling formally and communicative conceptually to bring to class. Remember, your images should be expressive on two levels.

• The first level considers formal elements and principles of composition and design (see the points of control handout). 
• The second level considers content or meaning. 

In other words, the compositions you make must function formally in order to communicate conceptually. When sketching (shooting) experiment by juxtaposing the different materials and images you have gathered, like we did in class. Remember that when you put two or more items into a composition, you are creating a direct relationship between these elements that affects the meaning of both. Having these objects interact with each other further connects them rather than just having them sit next to each other. Such visual interactions are the implied verbs in the visual sentences you are creating. In addition, consciously develop meaning by controlling the positions and viewpoints of the composition’s character or visual word parts. Use criteria from the points of control handout to manipulate the viewer’s perception pertaining to importance of specific objects and elements as they relate to one another in the composition. Finally, use the points of control handout to check whether or not you are considering all the aspects of making this composition successful.

* We ask that you make five images. These images should have a similar theme expressed in different ways(not five views of the same composition). In other words, each image will act as a sentence that explains your idea and direction in different words. Even so, your compositions may contain images and materials that repeat in interesting ways.

* Please print your images in color as 8"x 10"s
*Please bring all five images!

Here are a few resources for printing:

1. The school has a color laser printer (in MacLab 1) which is fast, cheap, and easy (if you have put money on your printing account). To use this printer you will need to purchase a print card from the business office.

2. The school has a few large format ink jet printers in Mac Lab 1 and 2. Please note: if you use the school's color ink jet printers you MUST use the proper ink jet appropriate paper. DO NOT use photocopy, laser print, or bond paper. The printers are expensive. You don't want to have to pay for repairs or replacing them.

3. Walgreens at Union and McLean will print pictures.

4. FedEx Office (Kinko's) 1573 Union Ave will print pictures for a reasonable fee.

* The final printed 2D version of your images will be discussed in critique. This means you should choose a format for printing that best represents the images you make. The printing process can destroy your images or limit the control you have worked so hard to display if it is not considered carefully. If your idea needs color (most do), print in color!

* While we encourage you to work collaboratively, we expect that you will each show your own images not a combination of someone else's.

Assignment 3 -- Image Choice and Written Support

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Due: Tuesday, March 5th

Format: Pick three of the final images from the c11_a2 assignment that communicate your content most successfully. For each, type a description that includes your intention and what is being communicated. Print and bring a typed copy of this description to class. Use the proper heading as outlined in the syllabus.

Write an overall statement, as clearly and concisely as you can that describes your idea and direction (argument) for this series of work. Then, choose three images from the five compositions you created that communicate said overall statement most successfully. In addition, for each image write in detail how your overall argument is being communicated through materials and elements organized in your composition. Think of these descriptions as identifying the visual words and sentences that make-up your visual argument. In summary, each description will start with the overall statement and end with a breakdown of visual elements and how each works together to deliver your stated message. You will come to class with three printed. 

Assignment 4: Visiting Artist Lecture - Kim Cridler - Metal Artist

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Due: February 21st,  7:30 PM in Callicott Auditorium

Format: In your logbook, up to 3 pages dedicated to recording information from and regarding this lecturer.

• One sketch of lecturer
• Printouts of visiting artist’s work
• Summary of lecture
• Criticism of lecturer's presentation style
• Criticism of lecture

Class 10 - Homework - February 14th

Note Pertaining to the assignments below:

Read Assignments 1 and 2 before completing either. Complete them in the sequence which makes the most intuitive sense to you.

Assignment 1– Collecting Parts for a New Composition

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Time Estimate: 2 hours

Due: Tuesday, February 19th 1:00pm

Format: 3d and 2d imagery/objects that exist in real space. Bring these with you to class.

• select objects and materials which reference aspects of your topic and direction of choice in regard to said topic and bring them to class next time

• bring more of the above than you think you need because the process is experimental

• use the next assignment (below) as a means to help identify potentially useful image components

• bring a bare minimum of 12 items

• 3D elements are usually more helpful than 2D

• 2D elements work well as backgrounds

• 2D elements can work well as foreground materials if you back them with cardboard and make a stand for them

Collect objects, images, materials, and other visual imagery that connect with your idea and direction to use for making experimental compositions during the next class. If you would like to create a three-sided-room-like component or bring a backdrop to use, feel free. The in-class composition exercise (next class) is not about planning every whole image beforehand. Instead, the focus of the Rapid Idea Sketching (RIS) strategy (at this stage) is about collecting image parts and pieces based on content and potential meaning. The RIS exercise on this coming Tuesday will be your opportunity to play and experiment actively with composing images based upon combinations of pre-considered meaning and reference. Being open, ready, and responsive will help you profit from this next exercise. Valuable experimentation requires trust and flexibility.

At this point in the semester, your collection of visual parts may be clichéd and strictly representational imagery. Given that your ideas cannot be sustained or developed using obvious imagery alone, strive to add a variety and large quantity of resources that extend beyond simple literal reference (consider symbolic or metaphoric reference). Quantity and quality will matter. Therefore, gather a wealth of 2D and 3D components. Ask yourself whether or not your choices are flexible enough to go beyond linear story telling or illustration. Even if the associations you are trying to build seem unclear, give them a try. In the end, you can't have too many items to work with.

Assignment 2 – Comparative Visual Associations: A List

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Due: Tuesday, February 19th 1:00pm

Format: Print the Goals, Images, and Associative Meaning worksheet and complete its two pages. Staple into the Idea Logbook and index. Be ready to show the list in class if asked.

• download and print the Goals, Images, and Associative Meaning Worksheet (use the blank one in the course documents section). You can download and print the model worksheet if you find it helpful.

• fill out the two sheets of the worksheet in accordance with the directions below

• use this process to help you pick things and evaluate things for Assignment 1 (above)

Use the Goals, Images and Associative Meanings Worksheet to consider images, objects, materials and contexts you might use in in class for our experimental compositions. Include all of the objects that you bring to class and fill in the blanks for each column. You may need to make multiple copies of the worksheet to include all of your objects.

We are asking you to compare visual associations of future image parts in an attempt to strengthen your awareness of how the parts might be used to speak visually. In engaging with this assignment you will be recording your own visual associations, and testing your intuitive knowledge against research, as a means to anticipate how others might read the same imagery. When filling out this worksheet, consider how others different from you might interpret the object (ex. a different age, gender, culture, etc.).

At the top left hand corner you will find two slots. One asks for topic and the other asks for direction. Direction is your informed perspective on an aspect of your topic. In defining this for the worksheet, please remember that it will be okay to change that direction later on if you think of a more interesting angle or if you get excited about a new direction altogether after completing this exercise. Additionally, if you have more than one direction you would like to try, that extra effort will pay off when we look at your logbooks and when you get stuck and decide to pursue a different facet of your idea.

Your direction does not have to be the same one used for the virtual project nor does it have to be the one you plan to use for the One Hour Exercise. However, if you would like to use either of these, feel free. Look at the model Goals, Images, and Associative Meanings Worksheet as a model.

Completing this worksheet should help you in collection of objects for Assignment 1. You may already have appropriate objects or you may find meanings that inspire you to seek out a particular object.

Assignment 3 - Equipment for Studio Exercise

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Due: Tuesday, February 19th 1:00pm

Format: Physical items you bring to class

In addition to considering and collecting image-making materials (Assignments 1 and 2) you should consider bringing, as individuals or as groups, the following items to aid you in Tuesday's in-class exercise (if you have them on hand).

• tape - masking, scotch, duct, packing

• poles (could bring brooms or mop ends), booms, stands, tripods (something to balance your camera while taking photos)

• hot glue

• fishing line

• poster gum

• multiple lights

• flashlights

• backgrounds/fabric to use to shoot your materials against. Something with at least 3 walls that can stand alone

• filters - glass, plastics, mirrors, and other translucent and/or reflective materials

• cameras, laptops, card readers, flash drives

• cardboard, foam core

• extension cords, power strips

Please share with others if you have the means to do so. Also, write your name on EVERYTHING and be conscious of where your equipment is at all times!

Class 9 - Homework - February 12th

Dear Class-

We will be meeting in the same rooms we ended in on Tuesday, at the beginning of next class to finish discussing the Virtual Project Exercise. Please, do not lose the virtual project that has been assigned to you as you will be graded on whether or not it is returned.

Good work today in class during critique!

See you soon,

Team IPC

Assignment 1— Virtual Project Exercise Critique Advice Write-Up

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Due: At the beginning of class on Tuesday, February 19th 1:00pm

Format: Staple together the following items in this order

1. Two [02] copies of this Assignment, c09_a1 as a typed document

2. The actual typed Virtual Project Exercise you reviewed in class

3. The evaluation worksheet with your photocopied logbook notes you took during class to record class discussion

In class you took notes while listening to what the professor and class had to say about the author's Virtual Project Exercise. For homework, answer each question on the evaluation worksheet for the Virtual Project Exercise in your possession by transforming your written notes into a synopsis that includes a detailed account of the critique group's advice for improvement and why you agree or disagree with said advice. Explain your reasons for agreeing and disagreeing with what was said in class and defend or disagree with the class' 6-2 or A-D grade assessment. Most importantly, your Virtual Project Evaluation should provide the author with concrete and constructive examples of how to improve her/his project.

Assignment 2: Visiting Artist Lecture - Tom Konyves - Visual Poet 

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Due: February 14th,  7:30 PM in Callicott Auditorium

Format: In your logbook, up to 3 pages dedicated to recording information from and regarding this lecturer.

• One sketch of lecturer
• Printouts of visiting artist’s work
• Summary of lecture
• Criticism of lecturer's presentation style
• Criticism of lecture

Class 8 - Homework - February 7th

Notice of One-Hour Exercise Due dates -please make note of the due dates in your calendar

One Hour Exercise Overview

• Choose an aspect of your topic

• Decide what you would like to communicate about that aspect to an audience

• Use this decision as inspiration to develop, plan, and practice a One Hour Exercise

• Type and print out your communication goals into a statement of intent

• Develop this idea and the plan for executing this exercise using strategies we've covered thus far. Don't neglect any phases of the Sequential Creative Process. Use your logbook a forum for developing your ideas into a coherent thoughtful project.

In the near future we will assign you to:

• Type out a plan you can follow

• Consider using materials and processes associated with your topic, which have potential for adding layers of meaning.

• Practice by making this project in real time outside of class and bring at least one of your practice piece(s) to class

• Bring your practice piece(s) and all materials for executing what you developed (during practice) to class on Tuesday, October 2nd

Assignment 1 – Research Materials for the One-Hour Exercise

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Time Estimate: 60 Minutes

Due: Tuesday, February 19th

Format: In the idea logbook and indexed. This can be a series of photos or detailed notes that clearly cite what you did to experiment.

In the One-Hour Exercise we ask you to develop, plan, and practice fabricating a piece that will communicate about your topic. In the One-Hour Exercise we ask that you use your choices of materials play a significant role in delivering you content. A critical part of the project is figuring out what materials are potentially meaningful, available, convenient, and efficient enough to work with in an environment of limited time, space, tools, and resources.

Experimentation with materials, you discover from research, will lead to the next part of this investigation; a practice piece. Here are some things to keep in mind: Figure out whether or not there are strict time limitations associated with fabricating with each material you consider. Since time is a major limitation in the One Hour Exercise, you may discover that some of your researched materials are of little use to you in this assignment because they take too long to work with. Subsequently, you may need to find additional materials, with which you can work effectively in a one hour period. You may be tempted to edit out certain possibilities because of the limited time. Don’t let those time factors narrow your initial search, as there will be plenty more projects and opportunities to utilize different materials later in the semester. [Said another way: don't edit when you are brainstorming and conducting an expansive phase of creation. Allow the possibilities to flourish and record them before you consider removing them from contention.] Adhesives and other binding materials should also be included in this material investigation, as you may not use open flame or toxic materials, whether sprayed or brushed to attach pieces together. Hot glue works very well, but is messy and requires an outlet. Some glues that are non-toxic are also fast drying. The choice depends on what works well for the materials needing fastening. Be aware that toxic paints and aerosols are also prohibited. See your professors with adhesive and other material questions. Be aware that you may not make digital work for this assignment. Use manual processes that exist in 3-D only (i.e. no digital work).

Assignment 2 – One-Hour Exercise Practice and Experimentation

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Due: Tuesday, February 26th at the beginning of class 1:00pm

Format: practice version(s) of your one hour exercise

Bring in any practice pieces made for your One Hour Exercise. Evidence of experimentation will also suffice. For example, a printed photo (particularly in the case where you need to re-utilize parts of your practice piece for materials to construct the final version).

During the critique of your One Hour Exercise we will expect to see both your practice piece (or photo thereof) and the piece you make in class, so that we can comment on your improvement.

If you do not submit either the practice piece or clear photo documentation of the practice piece, you will do no better than a 70(C-) level on this project. This is because practice is clear evidence of engaging in the planning process.

Assignment 3 – One-Hour Exercise Statement of Intent

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Due: Tuesday, February 26th at the beginning of class 1:00pm

Format: as a printed, typed document with a heading as prescribed in the class syllabus. Not more than 150 words. It may help to write it longer and then edit it down. In addition, add the document to your digital archive.

ARCHIVE

A statement in reference to your One-Hour Exercise that details what you plan to communicate and how you plan to convey that communication to the class through materials, process, and form.

The purpose of a statement of intent is to articulate in writing what you want to express visually. In preparation, identify the following:

• The points of content you want to address
• How you intend to make (or have made) reference to your points of content, in physical and visual terms

Use the first person when writing this statement. After writing a first draft, rewrite until your intent becomes clear and concise.

Assignment 4 – One-Hour Exercise Plan

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Due: Tuesday, February 26th at the beginning of class 1:00pm

Format: Format: as a typed document with a heading as prescribed in the class syllabus

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Type out the plan you will follow to complete the one-hour exercise. This plan should be constructed with the level of detail that would indicate to us that you have thoroughly thought through and practiced the process of making. To test for thoroughness, imagine that you are directing someone to build it in your absence.

Assignment 5 - Materials for Executing One-Hour Exercise (This will be the physical thing you produce)

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Due: Tuesday, February 26th at the beginning of class 1:00pm

Bring all the materials you need to make your one hour exercise during class.