I painted the outside box with dark glitter to make it look like the late winter night. Then I tried to make snowflake forms into the shapes, it looks like a fire camping in the cold winter night.
I decided to make some installation for my final project to challenge myself. I researched on the Internet and found this artwork which I was super inspired. The artwork is "Cold Dark Matter: An Exploded View" (1991) by Cornelia Parker.
I attended an ELO called AMP 150 āDesign Your Slide Deck at Arnold Hall on 11 November 2022. This event was hosted by Jordan Stevens with the purpose to help the student learn how to complement and deepen the impact of their verbal presentation through high-impact visuals. During the event, I emphasized that "our slide deck is the final 'packaging' of your idea" because regardless of industry or discipline, slide decks are ubiquitous in professional settings for sharing conceptual ideas demonstrating research and process, and showcasing finished work. The way we present our work influences audience impressions of both the presenter and the work itself. Additionally, Stevens gives more explanations about the effectiveness of a presentation that can be enhanced with a visual aid since humans find imagery helpful for establishing the context and formulating memories. I was also provided with the difference between a deck and a document. Stevens mentions that "presentation decks are visual aids, not verbal teleprompters. When content is fully written on-screen, and even worse read verbatim by the speaker, it disengages the audience." And eventually, I learned how to make a good slide deck by applying the core components and layout techniques.
After this ELO, I can further understand the importance of providing a good presentation, as well as know some methods to make my slide deck becomes better.
āA designer is planner with an aesthetic senseā. This sentence quote from Bruno Munari (Milan, 1907ā Milan, 1998) who is one of the people I have been most influenced by in my design learning journey. David Reinfurt insists that "Bruno Munari is a bit too well-known in the United States for childrenās books. Heās less well-known for the breadth of his work" (53). He was one of the most independent and influential figures in the history of twentieth-century international art, design, graphics, and film. Associated with the second wave of the Italian Futurist movement, and one of the founders of the Italian movement for concrete artāMovimento Arte Concreta (MAC), his multifaceted practice allowed him to contribute to all fields of the visual arts, as well as literature, poetry, and teaching. He is considered one of the protagonists of programmed and kinetic art. His works contributed fundamentals to many fields of visual arts, and much high applicability with his research on games, didactic method, movement, tactile learning, kinesthetic learning, and creativity.
One of typical Munari's works can be specifically mentioned in his "useless machines", which represents a completely different understanding of technology and its function in the modern age. Although associated with the Futurism movement at the time, this work went quite further and was more in line with other major trends such as Russian Constructivism or Bauhaus. These are objects hung in the style of Man Ray's famous lampshade, Munari thought that instead of drawing squares, triangles, and other geometric shapes that still give a realistic feel, why not liberate abstract forms from still paintings and hang them in the air, piecing them together so they could live in the environment with us. With "useless machines", he was interested in exploring the constant time-space, how to make the work of art could interact with the environment and change accordingly. Making art to become truly dynamic, Munari was one of the first in Europe to create kinetic art which has become a dominant trend all over the world in the '50s and '60s. What's interesting about these sculptures is that they're built with very light materials like paper, thin wooden slats, and silk thread. I agree that design is an experimental process which means we must experiment until figuring out the best way to jump into. Thus, I was inspired by Munari when he constantly experiments. He experimented with so many things that he became his own, and completely different from anything else out there.
"The designer of today re-establishes the long-lost contact between art and the public, between living people and art as a living thing", this quote from Design as Art is Munariās 1966 book of essays bringing together his thoughts and musings on design and art. It is also one of my favorite design books and I often refer back to it for inspiration. Munari insisted that design be beautiful, functional, and accessible, and this interesting book sets out his ideas about visual, graphic, and industrial design and the role it plays in the objects we use every day. Some of the subjects to which he turns his illuminating gaze such as lamps, road signs, typography, posters, children's books, advertising, cars, and chairs. The book made me think more about how to see the world and how to make forms from many things around us. Draw A Tree is Munari's illustrated book for children which I am fond of and was inspired by Leonardo da Vinciās centuries-old diagrammatic study of tree growth. According to Maria Popova notes that "Munari ā who made some wildly inventive 'interactive' picture-books before the Internet was born and who saw graphic literacy as the bridge between living people and art as a living thing." Observing the transformation of the tree and illustrating them through drawings has opened my mind about how to observe things around me and make new things out of them.
In sum up, Bruno Munari was among the most inspirational designers of all time, described by Picasso as āthe new Leonardo.ā His works are ahead of their time and have high learning value. He is also the person who has inspired and influenced a lot in my design style.
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Works cited
āBruno Munariā. Casati Gallery. https://www.casatigallery.com/designers/bruno-munari/, Accessed 15 November 2022.
āBruno Munari: The Child Withinā. Italian Modern Art. https://www.italianmodernart.org/exhibition/bruno-munari-the-child-within/, Accessed 15 November 2022.
Lichtenstein, Claude & Haberli, Alfredo. A Visual Reader on Bruno Munari. 1st ed, Lars MĆ¼ller Publishers, 2001.
Munari, Bruno. Design As Art. Illustrated ed, Penguin Classics, 2019.
Popova, Maria. āDrawing a Tree: Uncommon Vintage Italian Meditation on the Existential Poetics of Diversity and Resilience Through the Art and Science of Treesā, The Marginalian. https://www.themarginalian.org/2021/11/05/drawing-a-tree-bruno-munari/, Accessed 15 November 2022.
Reinfuirt, David. A *New* Program for Graphic Design. Inventory Press/D.A.P, 2019.
Iām always obsessed with color. Working with color is one of the reasons why I chose Graphic Design as my passion. I thought of working a big project in my life about color but it does not happen since I am lazy and do not know how to start, yeah kinda sad. In the past, I had an idea that changing those photos I had taken in single day into the color. And I did some Instagram story posts, but I personally do not feel enough. Maybe I will develop this idea in the future by using graphic (I hope I can do it lol).
And for this Poetry in Color assignment, I was inspired by movies directed by Wong Kar-Wai. I'm really interested in how he used cinematic color to demonstrate love's shades, thus I tried to illustrate the color of love in my own way.
Some researches I read for a long time about howĀ Wong Kar-Wai was obsessed to use color in his movies:
Wong Kar Wai: Color Obsession
The Secret is in Red: How Color Plays a Vital Role in Wong Kar-Waiās āIn the Mood For LoveāĀ
Stuart Davis Interpretation Assignment Final Submission + Artist Statement
For this assignment, we have to choose some elements and make new pieces from three artworks by Stuart Davis. In the beginning, I was struggle to choose his artworks because all of them are beautiful, and difficult to pick just three. Then, I finally chose three works such as Paris No.1 (1931), House and Street, and The Paris Bit (1959). Moving to the next stage, I started to choose some elements from that, and it took me a long time to make the decisions. However, I came up with the idea about the buildings in the street. I told my professor about it and she gave me advise about close-up and the whole frame from House and Street so I could think more about my idea based on it. I ended up picking elements to create the corner of the street and the whole street for the second piece.
I sketched the idea in Photoshop and printed it out. After that, I cut those elements and tried to draw on Bristol paper. About the color stage, I hate painting by Gouache because it is dry so fast and blending is another problem that needs to solve. I decided to choose Halloween and Christmas themes for my assignment. I was super confident about Halloweenās color scheme since I only needed to pick black, orange, purple, green, and some dark color to illustrate the creepy feelings. But about Christmas, I was stressed because of blending the green into many values. Some final green color was not what I thought in my mind, believe me, it is hard to blend and mix colors. I think the result is not too bad and I enjoy the whole process when doing this assignment.
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