Welcome to Design Portfolio!

Parsons The New School for Design

SPACE: Summer Intensive Studies

Design Portfolio

PNNY 0170 – C, CRN 1192

Summer 2013

9am – 11:50am and 1pm – 3:50pm, Room 701 2W 13^th Street

Morning Session: Jessica Cannon (cannonj@newschool.edu) | www.jescannon.com
Afternoon Session: Patrick Hughes (hughesp@newschool.edu)

Course Blog: http://designportfolio2013.blogspot.com/

Course Catalog Description:
Explore the connections between fashion, graphic, and product design through innovative approaches to concept development and studio practice in this portfolio-building course. Students are introduced to the fundamentals of drawing and are guided to research and prototype ideas by experimenting with sketching and illustration techniques, using digital tools like Adobe Creative Suite and digital photography, and working with 3D materials. Projects are completed on campus and within a diverse array of New York City cultural institutions and neighborhoods. A weekly lecture series gives students’ work a real-world context and features prominent designers and recent graduates who share their stories, professional strategies, and creative inspirations. (4 Credits)

Course Description:
In this section of Design Portfolio we will use the idea of travel as inspiration for projects in graphic, fashion, and product design. While travel may imply a literal change in location, you will be encouraged to think about travel as a state of mind that can enrich the creative process by challenging existing perspectives. As we move through projects in graphic, fashion, and product design, we will emphasize principles of design thinking, such as: observation, research, concept development, iteration, collaboration, context, and the language of design.

Learning Portfolio:

Throughout this course you will be expected to document and reflect upon your individual process and then present that process, along with finished works in a professional digital portfolio. The Learning Portfolio should demonstrate not only your skills as a designer but also the experiences that you bring to the design process. Organized in a blog format, the Learning Portfolio can include: concept sketches, photographs, brainstorming, inspiration, video / sound clips, materials studies, prototyping, finished work, project statements, and reflective writing. During the final week of this course your projects and process will culminate in the organization and design of your Learning Portfolio.

Sustainability:

Art and design materials will be utilized with an awareness of sustainability through the repurposing of found materials, reuse of existing materials and by working with digital files while keeping print output to a minimum. In addition, students are asked to recycle all trash in the recycling bins found throughout Parsons, as well as recycle large material refuse in the Parsons Green Space located on the 4^th floor of 2 W. 13^th Street. SIS students have full access to use all materials in the Parsons Green Space at their own discretion.

Learning Outcomes:

By the successful completion of this course, students will:

·       Demonstrate an understanding of the design iteration process from initial idea conception to final product realization, including: personal and conceptually creative approaches, idea generation and sketching, research and documentation, material exploration and prototyping, user-testing and editing, realization of the final product and professional presentation to the public.

·       Develop a vocabulary of technical and descriptive terminology to articulate both conceptual and process-oriented aspects of work during critiques, class discussions, project presentations and in written assignments that vocalize the studio practice.

·       Develop a meaningful connection to the works of artists and designers introduced in the course curriculum, including their historic context, creative contributions/inventions and cultural impact on society.

·       Demonstrate an understanding of perceptual and analytical drawing methods using both traditional and digital materials/tools and techniques necessary for rendering the human figure, geometric and organic forms and perspectival space.

·       Demonstrate an understanding of two-dimensional design principles, including: elements of composition, gestalt theory, value, color theory and typography through the use of wet, dry and digital media.

·       Demonstrate an understanding of three-dimensional design principles, including: texture, volume and weight through varying materials and construction methods and their ergonomic relationship to the body.

·       Demonstrate a basic understanding of digital software and tools included in Adobe Creative Suite (Adobe Photoshop, Illustrator, InDesign and/or Premier) and their methods of integration with the hand-made object via digital photography, scanning, 3-D printers, hypermedia publishing and/or desktop publishing.

·       Create an online Learning Portfolio that demonstrates the ability to communicate the creative process through a time-based narrative using visual and written documentation of each project from conception to completion.

Assessable Tasks:

·       Sketchbook: (one sketchbook should be kept for both classes) The sketchbook is the most important tool used in class and is utilized to help students work through ideas for in-class and homework-based assignments. The sketchbook functions as a visual journal that documents the development, inspiration and evolution of your Drawing and Design projects. The sketchbook is also a means of documenting personal experiences, inspirations and subjects/objects of artistic interest, and to articulate concepts in a visual form.

Begin to get in the habit of collecting images that have caught your eye and your   imagination. Record all the things that inspire you, from images taken from fashion magazines to the wrapper of a candy bars, matchbox covers, poetry, hangtags from clothing - the list is endless! A glue stick or double stick tape is best for adhering your choices onto the pages of your book. This process begins to help you define your taste. Collect as many visual ideas as possible (at least one hundred images during our four weeks together) from all areas of life and organize them in your book along with your Drawing and Design projects.

·       Concept development: As designers is not only important to be able to talk about what you did, but also why you did it, and its potential significance. As a ‘pre-college’ experience, this is a critical skill to develop over the four-week program.

·       Critiques:  All students are expected to participate in critiques.  During class we will have informal critiques addressing work-in-progress and structured critiques of daily homework assignments. Students are expected to talk about their work and the work of their classmates in an objective and professional manner, offering advice and constructive criticism.

·       Process + Documentation: Students are expected to reflect upon their learning process and document their process extensively. This should include but is not limited to: source materials (including found materials), preliminary sketches, writing samples, color palettes, drawing / design iterations, as well as finished pieces. The class blog is an excellent place to document your process and follow the work of your classmates: www.drawinganddesign.posterous.com.

·       Porfolio: As designers it is essential to demonstrate your work and process in a professional manner. During this course you will be expected to develop a portfolio that demonstrates your work, your strengths, and your point of view. A finished portfolio will be due week 4.

·       Work Presentation:  All work completed both during class-time and at home must be kept for the duration of the class. Nothing can be thrown away. All work must be presented in pristine condition… no crumpled or torn edges.

·       Clean Up:  Whether in class or working on site, students are responsible for cleaning their work area of refuse and material mess. Anything left or forgotten is thrown away by maintenance and cannot be retrieved.

Required Reading:

Day, Jesse. LineColorForm: The Language of Art and Design. Paperback. Allworth Press, 2013.
ISBN-10: 1621532445, ISBN-13: 978-1621532446
Students are required to purchase and read LineColorForm before the start of class on July 1.
http://www.amazon.com/Line-Color-Form-Language-Design/dp/1621532445

Materials and Supplies:

Paper + Surfaces

• 1 Sketchbook of your choice – 8.5 x 11”
• 1 Pad Utrecht 2-ply Vellum surface Bristol Paper – 9” x 12”
• 1 Tracing Paper Pad, 9” x 12”, tape bound, 25 lb., 100 sheets
• 1 Newsprint Pad, Rough Surface, 18” x 24”
• 1 Drawing Pad, Bond Sketch Paper, 18” x 24”,  50 Sheets
• 5 Illustration Boards: 15” x 20”, Cold Press, Single Thick
• Cutting Mat, 12” x 18”
• 1 Drawing Board, Size 22.5” x 25”, 2 Large Bull Clips (Size #4)
• Assorted magazines and newspapers for collaging

Drawing Materials

• Pure Graphite Pencils, HB, 2B and 6B (2 each)
• 1 Box of 12 Alphacolor “Char-Kole” Sticks
• 1 Box of 24 Vine Charcoal Sticks, Soft
• 1 Charcoal Pencil, Hard (HB)
• 1 Charcoal Pencil, Soft (6B)
• 1 Small Bottle Sumi Ink or India Ink
• Sumi Brushes
• Pigma Micron Pens, Black (from very fine .005, .01, .02, for reference see: sakuraofamerica.com/Pen-archival
• 1 Dry Erase Marker, Black
• 3 Steadler Drafting Erasers, White Plastic
• 2 Large Kneaded Erasers
• 1 “Tuff Stuff” Eraser Stick
• 1 Pencil Sharpener, 2 hole
• 1 Can Spray Fixative

Paint Supplies

Note:  Do Not Buy Hue Colors

Additional paint tubes may be required throughout course.

• 60 ml tubes of Winsor & Newton Galleria acrylic paint in the following colors: Cadmium Red Light, Alizarin Crimson, Ultramarine Blue, Pthalo Blue (green shade), Pthalo Green, Cadmium Yellow Light, Burnt Sienna, Ivory Black, Quinacridone Magenta, Dioxizine Purple, Cadmium Orange
• 250 ml tube of Winsor & Newton Galleria acrylic paint in Titanium White
• 1 4 oz Bottle of Acrylic Matte Medium

• Paint Brushes: All synthetic bristles (soft and smooth).   

·       #4 Bright

·       #8 Bright

·       #12 Flat

·       #4 Round

·       #2 Round/ Detail Liner

• Plastic Jar or Cup (Can be recycled from take out containers, should have firm lid)
• Disposable Palette Paper, 12 x 16 in.

Misc Design Supplies

• 1 Roll Scotch Drafting Tape, ¼” Thick (must be Scotch drafting tape or blue painters tape from Hardware Store)
• 1 Roll Artists Tape, 1/2" thick
• Scissors, 8”, a good sharp pair with sharp tips
• 1 18” cork back metal ruler for cutting
• X-Acto Knife No 1 with at least 3 cutting blades
• Large Glue Stick

Digital

• Digital camera with USB cable for downloading images to the computer, or one-time use digital camera. (Please do not purchase a camera just for this course. If you have one bring it, if not, you can purchase a one-time use at a local drug store or Staples)
• Digital storage device- at least 8 gig USB flash drive

Keeping It All Together

• Canvas portfolio (large enough for drawing board)
• 16 x 20” Portfolio (small flat case to keep your finished work from getting crushed)
• Art bin, art box, canvas bag (your choice). You will need something to hold all your supplies and keep them organized and in good shape.

Field Trips & Getting Around

·A 10-Ride MetroCard. You can purchase MetroCards in the vending machines at any subway station. This card is insured against loss when purchased at a vending machine with a credit or debit/ATM card.

·UMBRELLA!  It rains all summer in New York City.

·Entrance Fees for Museum Trips.

*Note: Additional materials may be required throughout course.

Recommended Reading/References:
Helpful books to review: The following books will be available in the Adam and Sophie Gimbel Library on the 2^nd floor of 2 West 13^th Street.

Author	Title
Ching, Francis D.K.	Design Drawing
Nicolaides, Kimon	The Natural Way to Draw
Peck, Stephen Rogers	Atlas of Human Anatomy for the Artist
Joseph D'Amelio	Perspective Drawing Handbook
Ellen Lupton	D.I.Y.: Design It Yourself
Kenneth Clark	The Nude; A Study in Ideal Form
Cornelia Butler	Afterimage: Drawing Through Process
Jonathan Crary	Techniques of The Observer; On Vision and Modernity in the 19th Century
Tania Kovats	The Drawing Book
Ellen Lupson & Jennifer Cole Phillips	Graphic Design: The New Basics
Richard Sorger & Jenny Udale	The Fundamentals of Fashion Design
Laura Slack	What is Product Design? (Essential Design handbook)
Josef Albers	The Interaction of Color
Johannes Itten	The Elements of Color

Course Outline:

WEEK 1
DAY 1	DATE	Morning Session: Orientation Afternoon Session: Intro to Course and Introduction to Project I – Travel Poster Design	Homework
DAY 2	DATE	Morning Session: Introduction to Value, 9 Step Grayscale Principles of Composition Afternoon Session: Presentation of Project I concepts and direction, Work in Studio	Homework: 1. Richter meets Albers assignment 2. Continue to work on Project I 4-5 concepts
DAY 3	DATE	Morning Session: Intro to Color Theory, 12 Hue Color Painting Explore palettes based on perceptual color, local color, tonal color, atmospheric color, emotional color. Lunchtime Lecture: Kellen Afternoon Session: Work in Studio, Desk Critiques	Homework 1. Develop 3 potential color palettes for travel poster
DAY 4	DATE	July 4th: No Class
DAY 5	DATE	Morning Session: Generate Travel Poster Color Palettes  Afternoon Session: Pre Presentation of final draft of Project I	Homework Complete travel poster painting. Complete travel poster graphic
WEEK 2
DAY 6	DATE	Morning Session: Critique – Travel Posters Draft Project Statements Afternoon Session: Formal Presentation of Project I Concept to Final outcome, Introduction to Project II- Film	Homework
DAY 7	DATE	Field Trip: Metropolitan Museum of Art	Homework
DAY 8	DATE	Morning Session: Figure Drawing Afternoon Session- Discussion of MET experience, Work in Studio, concepts for Project II	Homework  4 concepts for fashion project
DAY 9	DATE	Morning Session: Figure Drawing Lunchtime Lecture: Kellen [Topic or Activity] Afternoon Session: Class Intro to materials, Work in studio	Homework Complete concepts Project II,
DAY 10	DATE	Morning Session: Figure Drawing  Afternoon Session: Work in Studio to complete project , Desk Critiques	Homework  Complete project II
WEEK 3
DAY 11	DATE	Morning Session: Figure Drawing Afternoon Session; Presentation of Project II concept – final- Introduction to Project III, formation of teams	Homework Begin concepts for Project III
Gin concepts for	DATE	Field Trip: MoMA Morning Session: Screen IDEO’s Deep Dive	Homework
DAY 13	DATE	Morning Session: Introduction to Prototyping Work collaboratively to create a scale model  of a travel product  Afternoon Session: Work in Studio	Homework Complete prototype
DAY 14	DATE	Morning Session: Intro to Analytical Drawing Use completed prototype to create multi-view plan drawings Begin work on a project statement for travel product Lunchtime Lecture: Kellen Afternoon Session- Work in Studio- desk Critiques	Homework
DAY 15	DATE	Morning Session: Intro to Logo Design – work collaboratively to generate identity concepts for products  Afternoon Session: Work in Studio- Pre- Presentation of Project III	Homework 1. Complete any unfinished projects
WEEK 4
DAY 16	DATE	Morning Session: Portfolio Prep - Documenting Work  Afternoon Session: Presentation of Project III Concept – final	Homework 1. Finish documenting all projects and process work
DAY 17	DATE	Morning Session: Portfolio Prep – Importing + Editing images in Photoshop Afternoon Session – Work in Studio	Homework 1. Finish editing images
DAY 18	DATE	Develop Portfolio Blog Process Work Finished Work Iterations of ideas Project Statements / Written Work Inspiration Collection Reflective Writing Responses to Art + Design Afternoon Session Work in Studio finishing all loose ends	Homework Continue Developing Portfolio Blog
DAY 19	DATE	Finish + Present Portfolio Blog
DAY 20	DATE	Final Exhibition + Review	Final Exhibition

Final Grade Calculation

30% Learning Portfolio

20% Graphic Design Project, includes drawing and design work and homework

20% Fashion Project, includes drawing and design work and homework

20% Product Project, includes drawing and design work and homework

10% Class Participation and preparation

TOTAL: 100%

Grading Standards

                 

A	4.0	WORK OF EXCEPTIONAL QUALITY.  95-100% These are projects that go above and beyond the expectations and requirements described in the assignment. They demonstrate substantial effort and achievement in the areas of critical thinking, technique and presentation.
A-	3.7	WORK OF HIGH QUALITY.  90-94%
B+	3.3	WORK OF HIGH QUALITY, HIGHER THAN AVERAGE ABILITIES 86-89%
B	3.0	VERY GOOD WORK THAT SATISFIES GOALS OF COURSE. 83-85% The “B/B+” student offers a clear and convincing structure to a visual endeavor that is more complex and unique than a project at the average level. The creator’s point of view and point of the project are merged successfully and organized fairly consistently throughout the project. Although minor structural problems may be present in the assignment, they do not hinder the overall outcome.
B-	2.7	GOOD WORK. 80-82%
C+	2.3	AVERAGE WORK, AVG. UNDERSTANDING OF COURSE MATERIAL. 76-79%
C	2.0	ADEQUATE WORK; PASSABLE. 73-75% The student demonstrates some success in engaging with the assignment. The project will show that the creator can identify and work with key ideas and examples found in reference material. Typical of a “C” project is that the original problem or assignment once approached, does not move forward. Projects may also have organizational, technical weaknesses.
C-	1.7	PASSING WORK BUT BELOW GOOD ACADEMIC STANDING. 70-72%
D	1.0	BELOW AVERAGE WORK; DOES NOT FULLY UNDERSTAND THE ASSIGNMENTS. 60-69% Although this is passable work, the project only answers the minimum requirements of the assignment. The projects shows very little effort, is incomplete, late or incorrect in its approach. The outcome shows a lack of understanding and commitment on the part of the creator.
F	0	FAILURE, NO CREDIT. 0-59%
W		Withdraw. This grade can only be assigned by the Registrar. If a student withdraws from a course during the add/drop period, the course is deleted from his or her permanent record. To receive a grade of W, a student must withdraw between the fourth and seventh class session, complete an Add/Drop form, and obtain Advisor approvals, which he or she must submit to the Registration Office. Students should retain the blue receipt provided by the Registrar confirming their withdraw. No withdraws are allowed after the seventh class session. There is no penalty for a grade of W.
WF	0	Withdraw Failing. Instructors may assign this grade to indicate that a student has unofficially withdrawn or stopped attending classes. It may also be issued when a student fails to submit a final project or to take an examination without prior notification or approval from the instructor. The WF grade is equivalent to an F in calculating the grade point average (zero grade points) and no credit is awarded.

Divisional, Program and Class Policies:

● Responsibility

Students are responsible for all assignments, even if they are absent.  Late papers, failure to complete the readings assigned for class discussion, and lack of preparedness for in-class discussions and presentations will jeopardize your successful completion of this course. 

● Participation

Class participation is an essential part of class and includes: keeping up with reading, contributing meaningfully to class discussions, active participation in group work, and coming to class regularly and on time. 

● Attendance

Students are expected to attend classes regularly and promptly. Any student absent for more than three half-day sessions will fail the course. After two absences, students must meet with an advisor. After the third absence, students will be asked to leave the program. Students are expected to communicate with the faculty member following an absence to complete any missed course work or assignments. Please note: Missing one session (one half-day) is counted as one absence. Students with more than one faculty member are allotted the same number of total absences for the program.

● Lateness

All students are expected to arrive to class before the start of the hour and prepared for the day ahead. If a student arrives to class after 9am or 1pm, this will be counted as tardy. Two tardy arrivals will equate to one absence. If a student arrives more than 15 minutes late for class, this will be counted as an absence. If a student departs class early without informing the instructor, this will also be counted as an absence.

● Blackboard

Use of Blackboard may be an important resource for this class. Students should check it for announcements before coming to class each week and for final grades and the end of the semester. 

● Academic Integrity

This is the university’s Statement on Academic Integrity: “Plagiarism and cheating of any kind in the course of academic work will not be tolerated.  Academic honesty includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research findings or any aspect of the work of others (including that of instructors and other students).  These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, computer work, art and design work, oral presentations, and other projects).”

It is the responsibility of students to learn the procedures specific to their discipline for correctly and appropriately differentiating their own work from that of others.  Compromising your academic integrity may lead to serious consequences, including (but not limited to) one or more of the following: failure of the assignment, failure of the course, academic warning, disciplinary probation, suspension from the university, or dismissal from the university. 

Every student at Parsons signs an Academic Integrity Statement as a part of the registration process.  Thus, you are held responsible for being familiar with, understanding, adhering to and upholding the spirit and standards of academic integrity as set forth by the Parsons Student Handbook.

Guidelines for Written Assignments

Plagiarism is the use of another person's words or ideas in any academic work using books, journals, internet postings, or other student papers without proper acknowledgment. For further information on proper acknowledgment and plagiarism, including expectations for paraphrasing source material and proper forms of citation in research and writing, students should consult the Chicago Manual of Style (cf. Turabian, 6^th edition). The University Writing Center  also provides useful on-line resources to help students understand and avoid plagiarism. See http://www.newschool.edu/admin/writingcenter/.

Students must receive prior permission from instructors to submit the same or substantially overlapping material for two different assignments.  Submission of the same work for two assignments without the prior permission of instructors is plagiarism.

Guidelines for Studio Assignments

Work from other visual sources may be imitated or incorporated into studio work if the fact of imitation or incorporation and the identity of the original source are properly acknowledged. There must be no intent to deceive; the work must make clear that it emulates or comments on the source as a source. Referencing a style or concept in otherwise original work does not constitute plagiarism. The originality of studio work that presents itself as “in the manner of” or as playing with “variations on” a particular source should be evaluated by the individual faculty member in the context of a critique.

Incorporating ready-made materials into studio work as in a collage, synthesized photograph or paste-up is not plagiarism in the educational context. In the commercial world, however, such appropriation is prohibited by copyright laws and may result in legal consequences.

● Student Disability Services

In keeping with the University’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately.  All conversations will be kept confidential.  Students requesting any accommodations will also need to meet with Jason Luchs in the office of Student Disability Services, who will conduct an intake, and if appropriate, provide an academic accommodation notification letter to you to bring to me.  At that point I will review the letter with you and discuss these accommodations in relation to this course.  Mr. Luchs’ office is located in 80 Fifth Avenue, Room 323 (3^rd floor). His direct line is (212) 229-5626 x3135.  You may also access more information through the University’s web site at http://www.newschool.edu/studentservices/disability/.