2D Workshop.doc 2D Workshop.doc
Size : 0.063 Kb
Type : doc
2D supply list.docx 2D supply list.docx
Size : 61.233 Kb
Type : docx
2 2d 3 shapes 3 times[1].doc 2 2d 3 shapes 3 times[1].doc
Size : 0.04 Kb
Type : doc
abstract minds.doc abstract minds.doc
Size : 6.668 Kb
Type : doc
logo mojo.doc logo mojo.doc
Size : 1.608 Kb
Type : doc
2D composition pt 1.ppt 2D composition pt 1.ppt
Size : 3.78 Kb
Type : ppt
2D composition pt 2.ppt 2D composition pt 2.ppt
Size : 14.613 Kb
Type : ppt

 Workshop Outline  


2D Supply List


Assignment 1 Handout 3 Shapes 3 Times


Assignment 2 Handout Abstract Minds


Assignment 3 Handout Logo Mojo


2D Composition pt 1 PowerPoint presentation

Context, picture plane, golden rectangle, spatial clues

2D Composition pt 2 PowerPoint presentation 

Coherent composition, unity/variety, balance, pos/neg space, cropping





Image of corporate logo ABC's that is a good visual resource for Assignment 3.

Go through these with your class.  The students are somewhat surprised to find that the class will be able to name every company, its products, jingle or tag line, even it's corporate ethos just from one letter of the logo. Good demo of just how powerful these talismans can be. 

Student Examples of Project 1 

 Assignment 1 Student Examples

15 examples of student work running the range from "C" to "A".  As a useful exercise have the students identify the grades.  

On a conceptual level, 

really stress synaesthesia and the differences b/n pieces that rely more heavily on formal design principles (especially texture, value and line quality) as semiotic markers and those that rely primarily upon symbolism.


On a formal level,

have students note that it is largely the use of texture, value and line quality that distinguishes the successful from the unsuccessful projects, (certainly a more sophisticated composition doesn't hurt!)


On a process level, 

really stress generating possibility-- pushing way beyond ideas 1 & 2.

Use synaesthesia to activate sense memories that provide clues for imagery and formal solutions that avoid cliché.

Artist investment of time, intellect, emotion & work leads to viewer investment.  If the student isn't interested in and excited by what they are doing, there is little hope that anyone else will either!

Student Examples of Project 2

Project 2 

Abstract Minds in a Concrete World

On a Conceptual Level

This assignment is designed to focus on the fact that the distinction between "abstract" and "real" is at least problematic if not spurious.  Even something as literal as "tree" is actually an abstraction.  Do I have in mind a bonzai or a sequoia or a sapling?     Only THAT tree there in front of me is not an abstraction.  "Tree" is a  set of functional and structural relationships.  

The requirement that students only use straight lines certainly demands that students think creatively to work around the limitations, but its primary aim is to force students to think visually and structurally as opposed to their default mode of thinking semantically and symbolically.

On a Formal Level

Have students focus on value, repetition and line weight. Most successful compositions are around 50/50 to 60/40 percent light to dark.  

Meaning is primarily conveyed by dynamics, emphasis through isolation, unity/variety (emphasis through difference, amplification through unity) & position in the picture plane.

Fine tune the composition by paying special attention to the negative spaces and cropping.

Have them fight the urge to simply "fill space". If elements don't contribute to creating meaning, alter or replace them with elements that do.

On a Process Level

Have students do several drafts of each of the five panels.  The first few attempts typically stink, so stress quantity not quality in the early stages.  They need to generate visual stuff, even if they have no idea what they are doing or are making random compositions, they need to make drafts.  Their knowledge (and all visual thinking in general) is responsive.  They need visual info to respond to.  Many students find it difficult to invent good solutions, but with a little guidance, almost all can FIND them. 

Get line-based sketches converted to shape/value drawings as quickly as possible.  Typically the solution for one panel is "hiding" in the sketches for a different one.  The students won't see them because they are only accustomed to seeing through the lens of their intentions.  Help students to see past their intentions to see potential, and more importantly, to see what is actually in front of them.

 Left to their own devices, students usually use only straight lines in their sketches-- bad idea!  They can draw all the curves they want they simply have to figure out a way to convert to straight lines in the final piece.  This frees up the design process substantially.  

This is a whole new way of thinking for many of our students.  They will settle on crappy solutions or just give up unless you push them, some fairly hard.  Intervene often with excitement and encouragement but also with realistic assessment of their progress.  


Student Examples of Project 3

 Project 3 

Logo Mojo

Note:  If pressed for time at the end of the semester you can do away with the woodcut and have them use linoleum or Speedcut. Or if really squeezed, simply have them make the design in marker and duplicate as necessary with the computer or xerox.

On a Conceptual Level

This assignment is primarily concerned with contextualization.  This is an opportunity for students to take what they have learned about how context creates meaning and move beyond the rectangle of the picture plane to think about the next level-  How does context affect images out in the world.

 This is also a chance to expose them to a new model of how art functions . Up to this point we have been primarily using a communication model-- What does the artwork say?  For this project we have switched to a mechanistic model-- What does the artwork do?  This model is actually a more useful and accurate model of how visual art really functions especially in the applied visual arts such as graphic design.

This project is designed to help them work on their meta-cognition skills (critical thinking) particularly on thinking parsimoniously.  The mode of display for their talisman should be parsimonious( clear, consistent, efficient) with its intended function.  

On a Formal Level

Good chance to use all of the formal design skills they have aquired.  Make sure that they get away from line and focus more on shape, or at the very least calligraphic line.  

The design needs to fit in a 5" X5" square but it can be free form

On a Process Level


To show in class go here .

 Messa di Voce

Golan Levin, Zachary Lieberman  

Great example of synaesthesia for project 1 and 2 .

Make a Free Website with Yola.