DESIGN HISTORY LEAPS OFF THE STAGE

LEMON, ANN

COMMUNICATION DESIGN DEPARTMENT

KUTZTOWN UNIVERSITY OF PENNSYLVANIA

PENNSYLVANIA

2017 HAWAII UNIVERSITY INTERNATIONAL CONFERENCES

SCIENCE, TECHNOLOGY & ENGINEERING, ARTS, MATHEMATICS & EDUCATION JUNE 8 - 10, 2017

HAWAII PRINCE HOTEL WAIKIKI, HONOLULU, HAWAII

HFTProfessorAnnLemonKutztownUniversityofPennsylvaniaCommunicationDesignDepartment

DESIGNHISTORYLEAPSOFFTHEPAGE

From“SageontheStage”to“GuideontheSide”

Synopsis:Howtoconnectahistoricalsurveycoursewithtoday’sdigitally-savvy,textbook-averse,over-entertainedundergrads?Thispaperdetailsthespecificchangesmadetocreatea“flipped”classroomforteachingdesignhistory.

PhotomontageofProfessorLemon,incostume,intheAlexanderRodchenko1922“Books!”poster.

ProfessorAnnLemonKutztownUniversityofPennsylvaniaCommunicationDesignDepartment

DESIGNHISTORYLEAPSOFFTHEPAGEIntheflippedmodel,heavycontentareasaremovedonline,andthelargelecturehallisrearrangedintoacreativespaceforundergraduateresearch,feedback,andin-depthdiscussion.Classmeetingsbecomein-classactivitiesincludingbuilding,making,question-answer,studentprojectdesign,researchguidance,projectdraftsandwritingassistance.Memorizationisreplacedwith“higherlevel”learningsuchasanalysis,inquiry,synthesisandcreativeideageneration,anddesignobjectsareplacedintohistoricalandsocialcontext.

INTRODUCTION:WHYFLIP?Mylecturehallwasso1817.

Studentssittinginrows.Watching(ornotwatching)slidesofartwork.Takingnotes(ornottakingnotes).Listening(ornot)toaVERYentertaininglectureabouttheBauhaus.Lightsnoringinthebackground.

Soundfamiliar?That’showArtHistorywaswhenIwasincollege,in1984,andwhenIstartedteachingGraphicDesignHistoryin2012,that’showitbasicallyremained.IntheerabeforeMTV,thismighthaveheldmyattention.IntheeraofYouTubeandMOOCs,notsomuch.Ifeverymajorworkofartinthetextbookcanalsobeattributed,defined,datedandexplainedwithoneclick,dotheystillneedtomemorizeartists,datesandmovements?

“Studentsneedtheirteacherspresenttoanswerquestionsortoprovidehelpiftheygetstuckonanassignment;theydon’tneedtheirteacherspresenttolistentoalectureorreviewcontent.”(Bergman)

“The“flippedclassroom”isgainingcurrencyasanappropriateclassstructureforthedigitalage,tosuccessfullyintegratein-classlearningwithonlinetools.Theflippedclassroommodelenablesstudentstotrainwithleadingedgevideotutorialsoftware,conventionalore-textbooks,and/oronlineclassroomtoolssuchasDesire2Learn,Blackboard,andthelike,outofclass…Classroomtimecanthenbedevotedtohands-onlearning,assessments,additionalreinforcementofthe[material],andone-on-onetroubleshootingasstudentscompleteassignments.“(Lemon)

“Flipping”theclassroomletsstudentsabsorbthematerialasynchronously.Lecturesarerecordedandpresentedinvariousformatsfordifferentlearners:videos,slides/text,textbookreadings,andessays.Featurefilms,podcasts,websitesandotherprimarysourcesareassigned.Onlinecontentisreviewedwithsurveysandassessedbyquizzes.Theworksofdesignareprioritizedandputincontextbynarrowingdownmajorimportantworksintoalistof120“workseverydesignermustknow”andreiteratingtheirimportancewithadditionalsourcesbeyondthesurveybook.

Withlecturesdeliveredonline,theclassroomcanbetransformedfromanI-talk-you-listenpodium-stylelecture,toalet’s-all-worklaboratory.Classroomactivitiescanincludeindividualmeetingswithprofessors,groupprojectworktime,hands-onactivities,smalldiscussiongroups,shortresearchproblems,pair-and-sharestudysessions,andotherorganizedandstructuredactivitiesthathavestudentsthinking,talking,writing,analyzingandcreating.Byinteractingwithmaterialratherthanjustpassivelyreceivingit,retentionandunderstandingisincreased.

HOWITWORKS:Part1:theonlinecomponent

Fig.1:passwordprotectedChaptervideopostedtoVimeo.com

Icreatedonetotwovideosforeachchapter(persemester).Thesesimplevideos(nothingfancyyet)weremadebycombiningaKeynotepresentation,recordinganarratedvoiceover,andmixingitwithappropriatemusic,blendinginexistingvideocontent(suchasshortbiographysegmentsfrom“Biography”orexistingvideosofartist’swork)whereapplicable.

Thereareseveralwaystodothistechnically.

1) CAMTASIAmakessoftwarespecificallyforcreatingcoursevideos.2) KEYNOTEletsyoubuildaslideshow,thensimplySaveAs>aQuickTimemovie.

3) IMOVIEisabasicfilmeditingtool.IchosetoimportmyKeynoteorPowerPointslidesintoiMovie,thenusetheeditingsoftwaretoaddmusic,recordaVoiceoverasslideswereshown,andinsertothermediasuchasshortvideosformothersources.

4) MoreadvancededitingtoolsareavailablewiththeAdobeCreativeSuite,includingAdobePremiereandAfterEffects.

Fig.2:iMovieprojectinprogress.Musicandvoiceovertrackatbottom

Note:thiscontentispostedonaVimeochannelandaccessedbypasswordonly,toprotectmefromchargesofcopyrightinfringement.Theimagesonslidesare(mostly)fromtheMeggs’textbook,andarecited,butpermissionwasnotobtainedtousethehistoricalartpiecesinpublicrelease,eventhoughitiseducational.Manyeducatorsandstudentsplayfast-and-loosewithartpermissions,creatingallsortsofvideosandslideshows,remixingandevenalteringworksofart,anduntilnow,museumsdonotseemverylitigiouswhenitcomestoeducationalmaterial.Musiciansarequiteabitmorelikelytoprosecutefornon-licenseduse.So,moviemakerbeware.

Inadditiontothesevideos,IposttheoriginalKeynotesorPowerPointpresentations.Somestudentsenjoywatchingthevideos,whereotherswouldratherreadsilentlyattheirownpace,orskiptoaspecificpiece.ThePowerPointsarealsogoodstudyguides.Lastly,Ipostdocumentssuchasoriginalprimarysourceessaysbyartists,linkstoauxiliaryteachingmaterialssuchaswebsitesandonlineactivities.

Fig.3:Materialsarepostedonthecampuscontentmanagementsystem,Desire2Learn(D2L),foreachchapter,includingPowerPointsormovies,linkstoexternalmaterials,andaChapterQuiz.Part2:Reversedesign-whatdoyouwantthemtoknow?“Reversedesign”coursedesignmeansdesigningallclassmaterialtowardsaspecificendassessment,oroutcome.Whatisitthatyouwantstudentsto“know”attheendofthecourse?Yourobjectivemaybetohavethembeabletolocatespecificfactsoreventsinhistoryaccurately.Perhapstheyneedtobeabletoidentifyanartistbylookingatawork.Orperhapsyouwantthemtobeabletowriteacoherentthesisstatement,ortoanalyzeaworkofartbasedonitsform.Objectivesshouldbespecificandmeasurable.Thefirststepinmyoverhaulwastodecide:doIcareifstudenthavememorizedspecificworks,artists,datesandmovements?Theanswertothatwasareluctant“yes.”Iwantthis,becausewhenIthinkabouthowhistoryinformsaworkingdesigner,IknowthatIhavemyowninternalreferencebank.IneverneedtofaceablankpagebecauseIhaveamentalcatalogueofthestylesandtechniquesdesignershaveusedinthepast.WhenanItalianrestaurantwantsmetodesignalogo,Ihaveamentalfileof“Italian-ey”designthatisderivedfromprimarysourcesincludingthebooksofAldusManutiusandtheengravingsofthe“MasterofthePlayingCards”,andalsoincludespostmodern“retro”referencetothose

primarysources(LouiseFili’srestaurantlogodesigns)aswellasnon-obviousreferenceslikeearlyGiovanniPintori’sOlivettibrochuresandArmandoTesta’sPirelliads.Fig.4:Olivettibrochurecoverby Fig.5PirelliposterbyArmandoTesta,1954GiovanniPintori,1956.(Meggs) (Meggs)Whereasclassroomlecturesinpersonforthisclasswereanhourandtwentyminutes,commonsense,aswellasmostexperts,suggestthatbreakingthiscontentintoshorterchunksmakesitmoredigestiblefortheshort-attention-spanonlinegeneration.Thisinturnmademeanalyzethecontentitself.Inanhourandtenminutes,arapid-firesequenceofsimilarslidesfromoneera–evenifonly40or50–becomesablur.Whatismostimportant?Andwhy?Afterall,whatisthepurposeofa“survey”course?ToLISTeverypossibleworkofimportance,givingeachthesameamountofattention?Ordoesthismakethetrulymajorworksrecedeintotheforestalongwithsupplemental,lesser-known,orless-importantsecond-tierdesign?Thefirststepinredesigningtheclassforcedmetoaskmyself-whatdoIreallywantthemtoKNOW,versusjustmakeavailableasbackground?Tome,asurveycoursedoesmoretoexplainthecontextandgenesisofvariousstyles,settheminreliefagainsthistoryandcontemporaryculture,tiethemtoothermovementsinthearts,architectureandsocietyOneoftheexcitingpartsofteachingthismaterial(materialIampassionateabout)iswatchingstudentsrespondwiththeirowntastesandopinionstothevariousstylesofdesign.Ihavehadstudentsbecometransfixed/transformedafterexposuretothe“Swiss”style(notoneweareparticularlyknownforatourschool),reinventtheirownphotographsafterseeingtheworksofMagritteandManRay,ordigdeeplyintolesser-knowndelights

liketheextraordinarycalligraphyofthe16and17thcenturyItalianwritingmasters.BecauseIneverknowwhatmightdelightthem,Idon’twanttoabbreviatethecontenttoomuch,butIalsowanttofocusontheworksthatbecomepartofeverydesigner’smentalinventoryandarelikelytocomeupasshorthandinconversationwithseniordesigners.Mysolution(inspiredbyLauraFranz)wastoidentifyalistof120THINGSEVERYGRAPHICDESIGNERSHOULDKNOWforeachsemester–narrowingdownfromthe50-100imagesineverychapterofthetextbook(x12),toTENperchapterthatare(subjectively)“mostimportant.”Fortheseworks,studentsneedtohaveamental“thumbnail,”sothatwhensomeonesays“Cassandre’sDubonnetposter”theycaninstantlyenvisionit.

Fig.6:Singleslidefromthe“120Things”list,withaccompanyingdetails.ImagefromMeggs’.Atthebeginningofthesemester,IpostaPowerPointandPDFofthecompletelistof120THINGS,andthroughoutthesemesterwereturntothisresourceandattempttoexaminethematerialfromvariouspointsofview.Bytheendofthesemestertheyshouldhavea3-dimensionalunderstandingofthe“thumbnail”imagestheyneedtoknow.

Whencreatingtheonlinematerial,it’simportanttorememberthatasstudentswatchorreviewit,theyaresimultaneouslyusingatool(theircomputer)thatcaninstantlychecktheaccuracyoftheinformation,confirmdatesandspellingsoftitles,translatetitlesfromotherlanguages,giveamoreexplicitdescriptionofawork,introducerelatedworks,etc.TheyarealwayswithinoneGooglesearchofanentirebibliography.Thisisanincredibleasset.Atthesametime,ifthematerialbeginstoborethemtheycaneasilyexititorabandonithalfwaythrough.Someteachersmaywanttogivepointsforcompletionofvideos.OnetechniqueIuseistocreateashortsurveythatcollectsOPINIONS(ratherthanfacts)aboutvariouscomponentsofthematerial–forexample: WhydoyouthinkAmericanaudiencesreactednegativelytothe1913armoryshow?

WouldyouliketoliveinthisGerrittReitveld-designedhouse?Arethereanydesignersworkingtodaythataremakingstrongpoliticalorsocialstatementswiththeirwork?

Fig.7:Survey/opinionquestionsonMeggs’HistoryofGraphicDesign,Chapter16,“TheBauhaus”Part3:OK,sonowallmylecturesareonline.WhatdoIdowithallthesestudentsinclass?Luckyme,IteachARThistory,somyfirstinstinctwas–thebestwaytounderstandthese(sometimesancient)techniquesistohavestudentsTRYthem.In2ndor3rdgrade,IlearnedthatPAPERwasmadefromWOOD.ThisseemedIMPOSSIBLEtome.IreadallaboutitinmyEncyclopediaBritannica(!)andsawpicturesofagiantpapermillthinggrindingupthewoodpulp.“Aha!”Ithought.“ThislooksJUSTLIKEthepencilshavingsinourpencilsharpener!Groundupwood!”

So,Idumpedoutallthepencilshavings(plusprobablyalotofgraphite–probablymuchonthekitchenfloor),addedwaterand,Ithink,Elmer’sGlue,andmixeditallup.Itriedtopressitflat(theysaidsomethingaboutrollerssoIusedarollingpin.)ItdidNOTwork.Iwascompletelydisheartened.Butalongtheway,Imusthavelearnedafewthings.Forsure,whenIgotintocollege,Ilearnedthatifyouwhirredallthatup,plussomecottonragsandoldnewspaperscraps,withaLOTofwater,inaBLENDER,youcouldmakeAMAZINGhandmadepaperpulpthatwasactuallyworkable;AND,youburnedupablenderprettyfast.So,Itrytohaveasmanycreative“historicalmaking”activitiesaspossible.CDE151GraphicDesignHistoricalSurveyBCoursecalendarp.1ProfessorLemonWeek Topic Monday Wednesday

#1

CourseIntroChapter13:TheInfluenceofModernArt

January23CourseIntroINCLASSACTIVITY#1-20THCENTURY

January25LECTUREPOSTEDONLINELectureCh.13Cubists,Futurists&DadaistsSurrealists,Expressionists&Photographers

#2

Chapter13:TheInfluenceofModernArtChapter14:PictorialModernism

January30INCLASSACTIVITY#2-ABSTRACTIONQuizonChapter13openss

February1LECTUREPOSTEDONLINELectureCh.14PictorialModernism,Plakatstil,Switzerland&theSachPlakat

#3

Chapter14:PictorialModernismChapter15:AnewLanguageofForm

February6LectureCh.14ThePosterGoestoWarTheMaverickfromMunich,SpanishCivilWarposters,PostcubistPictorialModernismINCLASSACTIVITY#3:PROPAGANDAQuizonChapter13closesQuizonChapter14openss

February8LECTUREPOSTEDONLINELectureCh.15RussianSuprematism&constructivism

#4

Chapter15:AnewLanguageofFormChapter16:TheBauhausandtheNewTypography

February13LectureCh.15DeStijl,Thespreadofconstructivism–(Czechoslovakia,Hungary,Poland)INCLASSACTIVITY#4:DESTIJLQuizonChapter14closesQuizonChapter15openss

February15FIELDTRIPDAYLECTUREPOSTEDONLINELectureCh.16TheBauhausatWeimarLazloMoholy-NagyTheBauhausatDessauThefinalyearsoftheBauhaus

Fig8:Partialscheduleofclassroomactivities,lectures,andquizzes.

Iadmitthatmostofmyprojectsarebasedonmyowncuriosity.Iamthekindofpersonwholooksatacuneiformobjectandthinks“Werethereedstriangular,ordidtheperson“draw”thattriangularmark?Didtheyrolltheclayintoaballfirstbeforetheysmasheditflat?Werethereedswet,ordry?”So,50poundsofclay,onedaycuttingreedsintheswamp,aweekofdryingtheminthesun,couplehoursgeneratingahandoutwithaCuneiformalphabetonitand-wemadecuneiforminclass.It’snotaseasyasitlooks-ANDsomepeoplearemuchbetteratitthanothers.Fig9-12:Alocalwetlandpathwheretriangularreedswerefound;reedsdrying;studentreadingdirections;studentCuneiformandHieroglyphicscriptsexample.WhenchoosingactivitiesIalsotriedtothinkintermsofreverse(outcome-centered)design.Iaskedmyselfthesequestionsabouteachactivity:

a)Doesithelpstudentstounderstandvocabularyterms?b)Doesithelpthemtoconnectancientmethodstotoday’sdesignprocesses?c)Doesithelpthemtolocateindividualworkswithinalargermovementorperiod?d)Doesitletthempracticeactivitiesofartcriticsorhistorians,suchasanalyzingordecodingworks,arguingapointofview,ororganizingtheirownideas?e)Doesitletthempracticeexplainingordefendingideasaboutdesign?

Fig13-15:Studentsworkingroupsoffourtoorganizeworksformthe“120things”by“L.A.T.C.H.”(Location,Alphabetical,Time,Category,orHierarchy).Earlyinthesemester,thisletsthemexaminealltheworksatonceandlookforsimilaritiesanddifferences.

Fig16:Exampleofin-classassignmenthandout.

YOUR NAME: _____________________________________________

PROCESS:Using the techniques of Collage Cubism, create an abstract image that

communicates something about a social issue in an emotional way.

Materials:5 to 7 magazine images relevant to social issue of choice,

Pencils, Paint, Pen, Charcoal Decorative Papers, Charcoal, Glue, 18” x 24” White Drawing Paper..

VocabularyAbstraction – begins in reality. Seeks the essence of an object. May be expressed through simplification, stylization, fragmentation, re-assembly, and/or distortion.

Analytical Cubism - densely patterned surfaces of incomplete directional lines play against one another; no colo. The planes of a subject are studied from different viewpoints, then fractured; visually pulled planes forward towards the canvas surfaceCollage Cubism – Picasso and Braque invented in 1912. Deconstruction and reconstruction are evident in these collages. Used multiple materials

including cloth, rope, newspaper, rubbings, wood, packaging, and other materials. Generally applied to canvas as flat surfaces.Synthetic Cubism – the artist drew invented forms based on past observations (not from life); observations were symbols, not representations of reality.

Non-objective abstraction –Abstraction which does not refer to an object.

Preliminary1. Read the short essay on Guernica.

2. Choose a social justice issue that is currently in the news. (Some clippings are available for reference). The more emotional, the better. Suggestions: the global refugee crisis, the bombing of civilians in Aleppo, the Black Lives Matter movement, recent Trump executive orders,

Pro-Life or Pro-Choice movements, Standing Rock protest, etc. ALL VIEWPOINTS ARE WELCOME.

3. Identify various textures by taking texture rubbings around campus. (Putting newsprint or thin paper against a textured object and rubbing on

the paper with the side of the pencil or graphite.)

4. Isolate positive shapes in magazine images by cutting them out of the photograph context. Enlarge positive shapes in copier or by hand and cut

out with scissors or X-acto Knives..Final Composition5. Study the shapes you have chosen. Redraw them on 18x24 white paper by simplifying them, distorting them, fragmenting them. Study Guernica,

see how Picasso drew the woman, the horse, look at the jumble of shapes in the middle.

You may make multiple images of particular shapes – see the repetition of the woman, you may overlap shapes.

6. Create a collage of positive shapes on mural paper that expresses your idea the way Picasso expressed his feelings about the Spanish Civil War

in Guernica.

IN CLASS ASSIGNMENT #2: ABSTRACTION

OBJECTIVES ESSEnTIal: •Gaining a broader understanding and appreciation of intellectual/cultural activity. ImpOrTanT: •Gaining factual knowledge (terminology, classifications, methods, trends). •Learning fundamental principles, generalizations, or theories.

Fig.17-19:StudentexamplesfromtheCubismproject(Fig.16)

Fig20:Copyinghandcalligraphyfromprimarysourceswithpenandink.

ASSESSMENTTheuglytopicofgradingWhenIredesignedthecourse,Ihadtoredesignmygradingsystemaswell.Asshowninthechartsbelow,thequizzes(formerlytakenasmultiplechoice,onpaper,inclass)wereoriginallyalargeportionofthegrade–testingmemorization.Intheflippedmodel,projectsandactivitiestotal65%ofthegrade,andquizzes(Iconsideronlinequizzestobehomework,aftertalkingtostudents.Ican’tfighttheirtemptationtohave“openbook”quizzes,soIconsiderquizzessimplyanotherwaytoreviewthematerial)andonein-classfinalexamistheremainder–so,assessmentisflipped,too.

ThegoodnewsisthatsincetheonlineQuizzesaregradedautomatically,theoverallgradingtimeisreduced.Theclassactivitiesareeasytogradeandareonlyworth5-10points;Iusuallygradethemthenextdayandhandbackatthefollowingclass.Themidtermprojectandfinalprojectaregradedbyrubric,whichisalsoaquickmethod.Personally,Ienjoylookingatprojectsandreadingpapers.IdonotenjoyrunningScantronsthroughamachine.PapersandProjectsthatmodelreal-worldactivities.Whenattendingacademicconferences,Ilearnedanewdefinitionoftheword“poster”.AgaininspiredbyLauraFranz,IassignedthecreationofaResearchPosterononeofthe“120Things”asamidtermproject.Theresultswereimpressive.Studentswereguidedveryspecificallyabouthowtowriteathesisquestion,illustratetheirpointswithimagesanddata,correctlyuseacademicresearch,designanattractiveposter,andcorrectlyciteworks.Inordertogivestudentsstep-by-stepsupportintheprocess,whichwasnewtothem,Ibrokethe100-studentclassintofoursections.Eachsectionrotatedthroughfourworkstationsoverfourclassperiods,discoveringsomeoftheoftenunderutilizedresourcesoftheUniversity.Onesessionwasconductedbyourresearchlibrariandevotedtothearts,whointroducedstudentstothearchivalartcollection,toArtStor,totheperiodicalcollection,andhowtocorrectlyciteworksofart.

Gradingsystem–“oldstyle”Five quizzes 500 points. (62.5%) Project / paper 200 points. (25%) Final exam 100 points. (12.5%)

Gradingsystem–“flipped”12 Quizzes 25% Class activities 15% Midterm Project 25% Final Project 25% Final Exam 10%

Anotherclasssessionwasone-on-oneconferenceswithmetoapprovetheirtopic,thesis,andideasforsources,illustrations,andstructureofeachstudent’sposter.Thethirdsessionwasa“free”workperiodtoworkontheirposter.ThefourthsessionwasdevotedtoalectureanddemonstrationoftheUniversityletterpressfacility(wewereinthemiddleofstudyingtheIncunabulaperiodinclass).Forassessment,studentshungtheirpostersintheUniversityLibrary,wheretheyremainedfortwoweeks.WhileIgraded,studentscompletedanotherIn-ClassActivitybywalkingaroundtheposter“exhibit”andevaluatingotherstudents’work.Forartmajors,whooftenstrugglewithwriting,theactivitytaughtthemthebasicpointsofacademicresearch(thesis,support,conclusion,nextsteps)usingamorevisualformatthanamajoressay.Fornon-artmajors,theconceptofaresearchposterwaslessintimidatingthancreatingafull-blown“workofart”.Andasaprofessor,Ireallyenjoyedtheone-on-onemeetings,whichhelpedmetoconnectwithstudentsonapersonallevelasco-collaborator.

Fig.21-22:ResearchposterbyJackieForan(top)andArianaAlexandropolous,2016.

Diringer, David. The Illuminated Book; Its History and Production. London: Faber & Faber, 1958. Print.Stalley, Roger. “Iona, The Vikings And The Making Of The Book Of Kells.” History Ireland 21.3 (2013): 14-17. Historical Abstracts with Full Text. Web. 7 Oct. 2016

Meggs, Phillip B. Meggs’ History of Graphic Design, New York: Wiley, 2016. Print."Celticknotmeanings." Http://www.ireland-fun-facts.com/celticknotmeanings.html. N.p., n.d. Web. 12 Oct. 2016.

reated by ngels?Geometric Patterns from the Book of Kells

Created in an Irish monastery in Iona around 800 CE, the Book of Kells is a magnificent and beautiful piece of religious artwork. Containing the Gospels of the four evangelicals, (Mat-thew, Mark, Luke and John), it also houses some of the most beautiful hand-done illustrations, as well as borders to frame the delicate illustrations within. These borders and illustrations featured in the Book of Kells are often geometric and are composed of ribbons woven around each other, usually symmetrically, to create knots (also known as interlaces). There are three main categories of knots featured, and they are rectangular knots, circular knots, and lacertines (knots created by animal forms). There are also other knots that have symbolic meaning, such as the cross, heart, and triangular knots. In my opinion these knots are the most beautiful and exquisite forms of decoration. The fact that they were all done by hand yet seem ab-

solutely perfect really makes you wonder… were these done by humans, or angels?

A graphic Design History Project by:

JACKIE FORAN

Lacertines are animals and people whose bodies are formed by knots. Often the form of the knot will be visible, and then on the very ends of the ribbons the

heads of people or animals will be added. Other times the full bodies of animals and people are formed by

these ribbons. They are very beautiful and sometimes rather odd in the way they elongate the figures. Also known as “Animal Interlace”, these knots are said to represent the relationships between men and women

and/or humans to animals (hunters to prey).

LacertinesCircular knots are intertwined ribbons contained in a circular space in the Book of Kells. They were

used in illustrations and borders and contained knots that often times did not have an end. These infinite knots were symbolic of the cycles of life or

eternity. Just like that of a simple circle. Also, they were symbolic of unity and cohesion, and

some people compare them to the infinity symbol.

Circular Knots

Triangular, cross, and heart knots were also used in the book of Kells. They all are different and have unique meanings behind their use. Triangular

knots could very likely symbolize the Holy Trinity, seeing as how the Book of Kells contains the Gospel. Cross knots speak for themselves, and sym-

bolize the death of Jesus Christ on the cross. The cross is a symbol of Christianity in its whole. Heart knots are a celtic symbol for love, which is

essentially the most important act of faith a person can commit. The Gospel, contained in the Book of Kells, is known as the “Good News”, or the coming of God and Jesus’ death on the cross and eventual resurrection. The triangular knot, the cross knot, and the heart knot are all very important symbols of the Book of Kells because of their religious meanings and ties to

the Gospel and its meaning.

Religious/SymbolicRectangular and square knots are some of the most common knots in the Book of Kells. These knots were found in illus-trations and borders. The borders on the pages of the book were often rectangular to frame the words within. They are

comprised of various ribbons that intertwine with each other in mostly symmetrical patterns, and were all contained in a rectangular or square space. Square knots, also known as “shield knots”, were a symbol of protection. People often

drew these designs on shields as a symbol of protection from enemies. They were also placed near the sick and ill as a

symbol of hopeful recovery.

The Book of Kells contains some of the most beautiful hand-done illustrations the world has ever seen. It’s geometric and symmetric patterns and woven complexity make it unique and extraordinary. The people who created this work perfected the art of illustration with their flawless and complex designs. The knots in the Book of Kells are breathtaking in the way they were executed so perfectly. Every illustrator should strive to have the control and mastery of drawing as the authors of the Book of Kells did. Researching this sub-

ject helped me to understand the structure of the beautiful celtic knots that make up the Book of Kells. It enabled be to examine the book at a more knowledgeable standpoint. Some further questions I have are the questions many historians still wonder. The Book of Kells, having been created during the peak of Viking raids in Ireland, should have been de-stroyed. How did the monasteries manage to keep the book hidden and safe? Also, how did the monks simply just think of and create such beautiful interwoven patterns, and how

did they manage to execute them so perfectly? The designs are so intricate and complex that it’s hard to believe they were all done by human hands. It really does make one wonder if they were done by humans or angels.

Rectangular

"Old-Time Art Imagery." Initial Letter C. N.p., n.d. Web. 12 Oct. 2016

"Celtic Tattoo Ideas." Https://www.pinter-est.com/pin/90494273737811804/. N.p., n.d. Web. 12 Oct. 2016.

Guillermo, Luz. "4." You Can't Major in "Making Stuff":. N.p., 1970. Web. 12 Oct. 2016.

Guillermo, Luz. "4." You Can't Major in "Making Stuff":. N.p., 1970. Web. 12 Oct. 2016.

"Old-Time Art Imagery." Initial Letter A. N.p.,

n.d. Web. 12 Oct. 2016.

"The Book Of Kells Designs & Such."

Pinterest. N.p., n.d. Web. 12 Oct. 2016.

"Book of Kells Square Knot Pattern by Suvi."

Ravelry:. N.p., n.d. Web. 12 Oct. 2016.

"Book of Kells." Wikipedia. Wikimedia Foundation, n.d.

Web. 12 Oct. 2016.

@PattiWelsh. "Illuminated Manu-scripts and Metal-

work." Pinterest. N.p., n.d. Web. 12 Oct.

2016.

"Anam Cara: (Part 3) Community Of Soul Friends." Pinterest. N.p., n.d. Web. 12

Oct. 2016.

LUIGI PERNIER

• Meggs, Philip B, Alston W. Purvis, and Philip B. Meggs. Meggs’ History of Graphic Design. Hoboken, N.J: J. Wiley & Sons, 2006. Print. Leafloor, Liz. “The Curious Phaistos Disc – Ancient Mystery or Clever Hoax?” Ancient Origins. N.p., 20 Sept. 2014. Web. 11 Oct. 2016.

• https://s-media-cache-ak0.pinimg.com/564x/c4/5a/34/c45a34b7bdb6cffacc6e32df123b5dbf.jpg (background picture) http://www.ancient.eu/uploads/images/372.jpg?v=1431034687 (picture)• Haughton, Brian. “The Phaistos Disc-Ancient Artifact or Modern Fake?” Brian Haughton. N.p., n.d. Web. 11 Oct. 2016. Tierney, John. “Why Not Test the Phaistos Disc?” Tierney Lab. N.p., 7 Aug. 2008. Web. 11 Oct. 2016.

Luigi Pernier (1874-1937) is the italian archaeologist who discovered the disc in the basement of the ancient palace in Phaistos, Crete. This is Pernier’s most famous discovery. The stamps on the phaistos disc have been identified as a form of ancient language. It is categorized as Linear form A. It is believed that linear A is a predecessor to the Minoan language. Even though there are some common elements, Linear A does not coincide with any known languages of the time. It is curious that only this one artifact has been found with linear A on it. Since 1969, archaeologist Dr. Eisenberg has questioned the authenticity of the disc, for there has not been any other discovery of a similar artifact in Crete. The Greek curators of the Herakleion Museum in Crete have refused to let the artifact be tested for its authenticity. Of course these questions may be far fetched, but not unprecedented. We may never know the truth.

“Dating by thermoluminescence would not really damage the disc. Hopefully the Greek authorities will finally test the disc.”- Jerome M. Eisenberg

There is a cloud of mystery surrounding the ancient social structure of the minoan civilization. Recent studies have unearthed that instead of being a peaceful community, the minoan civilization was very war-oriented. Minoan civilization was so highly successful, because it used sophisticated war methods in every aspect of life. War was underlayed in their art,religion, trade, building and of course war traditions. It would be interesting to explore more connections between their deeply em-beded war values and art.

The PHAISTOS DISC has been a mystery for more than 108 years. The disc is made out of clay and has stamp-like impressions of a variety of sym-bols and pictures imbeded on it’s surface. Ever since it was discovered in the ruins of the ancient city of Phaistos on the island of Crete, Greece, the symbols have not been deciphered. For years scholars, archaeologists and relic-lovers have speculated about its use and meaning. The actual date of the phaistos disc is debatable. Scholars know that this disc dates back to the minoan period. An estemate is between 1850-1550 BCE.

The use of the phaistos disc is unknown. There are only speculations. Some of these are:• religious representation: godess->mother->• fertility• ancient game • prayer book• astronomical observationsThe Phaistos disc is the first form of movable type, since the symbols/letters were stamped on! This is just one of the many examples that prove how ad-vanced the minoan civilization was.

The festering question about the PHAISTOS DISC

In conclusion, if objects with similar inscriptions to those found on the phaistos disc are discovered ,there is hope. Hope that the phaistos disc will be successully translated. If the disc turns out to be fake it would be a huge embarrassment to the Greek museum in Herakleion Crete. Their economy would suffer, for the phaistos disc is their most well known artifact.People from all around the world travel to see the phaistos disc. The archaeological society would experience a big defeat. If the disc is proved to be real that fact will be an added on incen-tive for ambitious archaeolgists, liguists and artifact enthusiasts to solve and translate Linear form A and go down in history.

Fig.23:Exhibitionofresearchpostersonviewinthelibrary.Sincethemidtermprojectwasacademic-focused,Idecidedtoassignawide-opencreativeprojectwherestudentshadtocreatesomethingthateithercombined,contrastedorcomparedtheworksoftwodifferentartists.Fig.24:AquirkyconversationbetweentwotypographersbystudentSamuelSchieb.

Inthespringsemester,studentteamscollaboratedtocreatea“reviewGame”foronechapter.Therewere24groupsof4,soeachchapterwascoveredbytwoteams.TheprojectsculminatedinaGameNightandwereusedattheendofthesemestertohelpstudentsstudyforthefinal.BENEFITSFORTEACHERSANDSTUDENTSAlthough,ofcourse,comparingcohortsofstudentsisnotalwaysstatisticallysignificant,andIonlyhaveoneyearoftheflippedclassroomtocompare,sofar,end-of-termgradesaresignificantlyhigherintheflippedmodel.Animating/postingthelectureletsstudentswatchthemagainifneeded.Step-by-stepsupportintheresearchprocessisyieldingmoreinterestingandcrediblepieces.Attendanceishigher.Studentsaremoreanimated,askmorequestions,andinteractwitheachotheraftertheteamprojectsandone-on-oneconferenceswiththeprofessor.Asidefrombeingabletoperformbetteronanend-of-semesterexam,howelsecanwecomparethetwomodels.Dostudentsretaintheinformationbetteraftercreatingagame,versustakingaquiz?Willtheybeabletoproducethenameofanobscure19th-centuryposterartistwhenthemomentcomes?Willinvestigatingthedifferencesorsimilaritiesbetweentwoartistsofdifferentperiodsyieldmoreappreciationforhistoricaldetails?Willattemptingpen-and-inkcalligraphybyhandmakethePenToolmoreaccessible,oratleastmoreappreciated?Fortheteacher,flippingislaborintensiveatfirst,butsaveslaborinthelongrun.Benefitsincludecreatingamore“perfected”lectureonetime,ratherthan“performing”itmultipletimes.Doingmorehands-onwork,andhavingmorepersonalone-on-oneoneinteractionwithstudentsismoresatisfyingthanwonderinghowmanywerepayingattentionduringalecture.Surprisingthemwithinterestingactivitieslendsanatmosphereofcelebrationtoabouteveryotherclass.Thosewhoteach“non-art”historyarealsolucky–youcould,forinstance,stagebattles!Printnewspapers!Dotai-chi!Makecorn-pone!Haveprotestmarches!Alas,mytopicislimitedtomakingart-likeobjects.Inshort,automatingpartofyourclassroomleavesthemostimportantpart–thefacetofaceconnectionwithstudents–alive.EXTRACREDITWarning:thisapproachisonlyapplicabletoprofessorswhohavedeterminedthatmaintainingdignityisnolongercriticalintheirteachingphilosophy.WhenIwasassignedtoteachingthisclass,Iwokeupinthemiddleofthenightwithanimageofoneofmyfavoritecreativeworks:ashoe-shapedhatthatwasacollaborationbetweenSalvadorDaliandthefashiondesignerElseSchiaperelli.InstantlyIknewIhadtodressinperiodcostumetoillustratethechangesinculturethroughthedecadesofthe20thcentury.WhenIbeganteachingthepre-moderneracourseaswell,Ihadboxedmyselfin,sohadtodesignandfabricateaGutenbergcostume,aNefertiticostume,andmore.

Craftingthecostumeswasfun.Wearingthemwasterrifyingatfirst,butseeingthereactiononthestudentsfaceisworthit.SometimesIfallintocharacterandgiveashortperformancebeforethelecture.SometimesIjustgivethewholelecturewearingaMadScientistcostume.Studentevaluationsarefullofcommentslike“ThebestclassIhaveevertaken,”“Madehistoryeasytoremember,”“Broughthistorytolifewiththecostumesandprojects.”Imetwithanalumnaeafewyearsaftergraduation–sheworksforoneofthebestdesignstudiosinPhiladelphia.IaskedherifIshouldcontinuewearingthecostumesinclass.“Youhaveto,”shesaid,“Ithelpedmerememberthedesignperiodssomuchbetter.”Done.Inconclusion,Iofferthisvisionforyou.Changeupyourclassroom.Experiment.Takeafewrisksandmakesomemesses.Giveyourstudentsachancetomake,tothink,andtoarguewithyou.YouwillallenjoyMondayandWednesdaynights(orwheneveryouteach)more.

Fig.25:TheShoe-Hat.

10waystostartflippingyourlecturehall:

1. Makefulluseofyouruniversity’sexistingonlinecoursematerials–D2L,blackboard,etc.

2. Utilizeexistingvideos/moviesandfindwaystoensurestudentviewing–thetheatricalityandprofessionalproductionlevelisprobablybetterthanmostofuscangenerate.Allowamonthtocrafteachvideo,especiallyatthebeginning.

3. Createauthenticassessmentsinsidetheclassroomsoyoucanobservestudentsworking

4. Postyourtextonlineorusedigitalversion.5. AnimateyourPowerPointpresentations.6. Createmoviesoraudiorecordingsofyourselftalking,ifyouareagoodstoryteller.7. Videotapeyourselfteaching.8. PostvideosonYouTubeorVimeoorcreateastandalonesiteforyourclass9. UsePrezi.10. Havestudentscreateasmuchcontentaspossiblethemselves,andcurateit!

Fig26:scenefromvideoaboutthehistoryofphotography“Designstudentsareusedtoanactivelearningenvironment:theymake,theycrit,theyrefine,theyshare.Asadesigninstructor,I’musedtotheactivelearningenvironment,too.Mystudentslearnasmuchfromtheirtrialsanderrors—andfromeachother—astheydofromme.”(Franz)

WorksCited

Bergmann,JonandAaronSams.FlipYourClassroom:ReachEveryStudentinEveryClassEveryDay,HawkerBronlow.2012.Franz,Laura(UniversityofMassachusettsDartmouth).“FlippingtheGraphicDesignHistoryClassroom:WhatmystudentsandIlearnedfromturningofftheprojectorandactivelyexploringthehistoryofgraphicdesign.”Paperpresentation,UCDADesignEducationSummit,May2016.Lemon,Ann.“TeachingDigitalDesignintheFlippedClassroom.”Paperpresentation,UCDADesignEducationSummit,May2014.

Meggs,PhilipB.andAlstonPurvis.Meggs'HistoryofGraphicDesign,6thEdition.Wiley,2016.

Resourceshttp://tv.adobe.com/show/adobe-for-academics/http://tv.adobe.com/watch/new-in-presenter-9/learner-intervention-and-collaboration/https://www.techsmith.com/(Camtasiasoftware)https://www.apple.com/imovie/(iMoviesoftwareandsupport)

ListofImagesTitlepage:FromAlexanderRodchenkoposter,alteredbytheauthor.Fig1:Scenefromvideobytheauthor,2015.Fig.2:Screenshotofimovieprojectinprogress.Imagebytheauthor.2015.Fig.3:ScreenshotfromDesire2LearnCMS,KutztownUniversity.2017.Fig4:OlivettibrochurebyGiovanniPintori,Meggs’HistoryofGraphicDesign.Fig20-2,p.413.Fig.5:PirelliposterbyArmandoTesta,Meggs’.Meggs’HistoryofGraphicDesign.Fig21-1,p.436Fig.6:Singleslidefromthe“120Things”list,withaccompanyingdetails.ImagefromMeggs’HistoryofGraphicDesign.Fig14-55,p.293.Fig.7:Survey/opinionquestionsonMeggs’HistoryofGraphicDesign,Chapter16,“TheBauhaus”2016.Fig8:Partialscheduleofclassroomactivities,lectures,andquizzes,bytheauthor,2017.

Fig9:Alocalwetlandpathwheretriangularreedswerefound.Photobyauthor,2016.Fig.10:reedsdrying.Photobyauthor,2016.Fig11:studentreadingdirections.Photobyauthor,2016.Fig.12:studentCuneiformandHieroglyphicscriptsexample.Photobyauthor,2016.Fig13-15:Studentsworkingroupsoffourtoorganizeworksformthe“120things”by“L.A.T.C.H.”(Location,Alphabetical,Time,Category,orHierarchy).Earlyinthesemester,thisletsthemexaminealltheworksatonceandlookforsimilaritiesanddifferences.Photosbyauthor,2016.Fig16:Exampleofin-classassignmenthandout.Bytheauthor,2017.Fig.17:Studentexample,“Immigrants”byLeahGreger,2017.Fig.18:Studentexample,“StandingRock”byNoahRausch,2017.Fig.19:Studentexample,“TheWall”byCieraKlewell,2017.Fig20:Copyinghandcalligraphyfromprimarysourceswithpenandink.Photobyauthor.2016.Fig.21-22:ResearchposterbyJackieForan,2016Fig.22ResearchposterbyArianaAlexandropolous,2016.Fig.23:Exhibitionofresearchpostersonviewinthelibrary.Photobyauthor.2016.Fig.24:AquirkyconversationbetweentwotypographersbystudentSamuelSchieb,2016.Fig.25:TheShoe-Hat.Photobyauthor.2015.Fig26:Scenefromvideoaboutthehistoryofphotography.Photobyauthor.2015.