1052 LeBaron Hall Telephone: Office Hours: By appointment
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1 1 Apparel, Educational Studies & Hospitality Management AMD 625 Design Theory and Process Spring 2015 Instructor: Dr. Eulanda A. Sanders Office: 1052 LeBaron Hall Telephone: Office Hours: By appointment Course Description: Analysis of design theory and creative processes, including strategies for solving aesthetic, functional, and technology-focused design problems. Design criticism and frameworks for practice led design research. Credits: 3 Prerequisites: Meeting Times: Permission of instructor MW 9:00am 11:00am Instructional Method: Learning will occur in an interactive classroom environment, in which the instructor will present course information through lectures, discussions and demonstrations. Students will be evaluated on the basis of recitation abstracts, a research paper and presentation, the wearable or fiber art line, a sample notebook, animated and printed portfolios, an artist statement, and participating in the juried exhibition. Course Objectives: Use a conceptual or theoretical framework to facilitate apparel product line development and production strategies for a line of 3 ensembles/looks of wearable art or textile art. Analyze course readings through discussions and written abstracts. Explore the use of CAD technologies for the development of wearable and textile art. Sample a variety of surface and structural fiber manipulation techniques. Utilize animated or video portfolio presentation strategies for apparel products. 1
2 2 Document the design process in digital format through the use of drawings, videos fabric samples, photos, and the ensembles to demonstrate an advanced level of skills in textile and apparel design. Course Policies: Academic Honesty - The academic work of all students must comply with University policies on academic honesty. Examples of academic misconduct are: Attempting to use unauthorized information in the taking of an exam; Submitting as one s own work, themes, reports, drawings, laboratory notes, computer programs or other products prepared by another person; Knowingly assisting another student in obtaining or using unauthorized materials; or Plagiarism. (Student Conduct Code, Section 4.2.1, p. 27) Attendance Success in this course requires attendance. Formal attendance will not be taken; however, as an emerging professional into the apparel industry it is expected you will attend class and fully participate in each class meeting. Accommodation of Special Needs - A request for accommodation should be presented to the instructor at least 10 business days before the date of the accommodation needed. Those seeking accommodations based on disabilities should obtain a Student Academic Accommodation Request (SAAR) from the Disability Resources office ( ), which is located in Room 1076 of the Student Services Building. Assignments Late assignments will not be accepted. If you encounter extenuating circumstances please contact me within 6 hours of the projects due time. Electronic Devices - All usage of laptops or other similar devices must be approved by the instructor. All cell phones should be turned off and put away, or the instructor can ask the student to leave the classroom for the rest of the class period, in which case it will be counted as an absence. Classroom Courtesy Respect and care for the classroom and studio spaces are expected of each student. You are to leave the studio in better condition than you found it, so that all students have a positive experience using our studio and classroom spaces. You are expected to have the necessary materials and supplies for each meeting. Projects must be worked on in class, but some work will also need to be completed outside of class. Projects not worked on in class will not be accepted. You are encouraged to watch progress on projects of other class members and to share learning experience with others. Course Fees There are no course fees for this course. Required Text: Brown, T. (2009). Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation. New York: Harper Collins. Cameron, J. (2002). The artist s way. New York: Penguin Putnam. Csikszentmihalyi, M. (1996). Creativity. New York: Harper Collins. 2
3 3 Pressfield, S. (2002). The War of Art: Breakthrough the Blocks and Win Your Inner Creative Battles. New York: Black Irish Entertainment. Reader s Digest Complete Guide to Sewing. Pleasantville, NY: Reader s Digest Association, Inc. Any edition is acceptable. Reader s Digest Complete Guide to Needlework. Pleasantville, NY: Reader s Digest Association, Inc. Any edition is acceptable. Overview of Assignments: Abstracts (195 points) Each student will complete a series of abstracts that relate to the course readings and prepare for class discussions. Research Paper & Presentation () Students will create write a 5-10 page paper that explores the specific aspects of the component of life or culture you will use as your source of inspiration for your textile designs during the semester and the theoretical framework. Wearable or Fiber Art Line () Students will create a line of wearable using 2 or more techniques sampled in class in each piece based on the research paper and chosen theoretical framework. Sample Notebook () Students will compile a professional notebook/portfolio of textile design samples inspired by the ethnic group, culture, art movement, or organic processes chosen to research. Digital Portfolio () Students will create a digital portfolio using the designs created in the class. The project will include a cover sheet, resume, inspiration page for designs, samples from Sample Notebook, and wearable art line (sketches, drawings, and pictures). Website Design () Each student will create a professional website that includes industry relevant academic projects from this course and other courses. Artist Statement (50 points) Each student will develop an artist statement that explains in lay person terms the theoretical foundation, inspiration and techniques used for the line Juried Exhibition Installation (50 points) Each student will help with the installation and setup of the juried exhibition and attend the opening. 3
4 4 Grade Distribution: 15 points each x 13 = 195 points Research Paper & Presentation Wearable Art Line Sample Notebook Digital Portfolio Website Design Teaching the Design Process Activity 50 points Artist Statement 50 points Juried Exhibition Installation 50 points Total Points 845 points Extra credit points will be available through participation in the course Facebook Page Grading scale: % of Course Points # Course Points Letter Grade % A % A % B % B % B % C % C % C % D % D % D- Below 60 % Below 476 F Supplies Required: 3 ring binder for sample notebook Sheet Protectors for sample notebook Various fabrics, materials & patternmaking supplies needed to complete the projects Size G or H Crochet Hook Size 8 or 9 knitting needle Beads Yarn & embroidery floss for binding & tassel making Sewing Threads for Machine Embroidery Wool fibers for felting Tapestry Needle Quilt batting cotton if possible Yarn for crochet and knitting Other textiles and fabrics for Wearable Art or Fiber Art line itunes 6( or a device to play Podcasts Camera and/or video capture device 4
5 TENATIVE SCHEDULE Course Outline: Wk Day Lecture (readings are to be read prior to class) 1 1/13 Course introduction Definitions of Wearable Art & Fiber Art Research Paper & Presentation Assigned 1/15 Methods and procedures for Csikszentmihalyi s study on creativity Creativity Chapters 1 & 2 Craft vs Design Recognition vs Understanding.pdf 2 1/20 Cameron Spiritual Electricity, The Basic Tools, and Week 1 How Should Creativity Be Defined.pdf Lab Creativity Exercises Teaching the Design Process Activity Assigned Defining the differences between Ready-to-Wear, Craft Items, and Wearable/Fiber Art Finalize Teaching the Design Process Activity Final Prep for AESHM 222 activity 1/22 Teaching the Design Process Activity- AESHM 222 Creative Thinking and Problem Solving course 3 1/27 The Design Process Varying Viewpoints Csikszentmihalyi s Ten Dimensions of Complexity Introduction to Crochet 1/29 Dr. Sanders Attending TechStyle Symposium at Kent State Creativity Chapters 3 & 4 Cameron Week 2 Creativity, Intelligence, and Personality.Pdf Crochet Work on Research Paper & Presentation 4 2/3 Introduction to Embroidery Creativity Chapters 5 & 6 Embroidery Assignments Teaching the Design Process Activity Ideas 1 Abstract 1 Research Paper & Presentation Topic Abstract 2 Abstract 3 1 Abstracts are due and are to be uploaded by 9:00am on the due date. Keep access to a copy of it as your reference for discussions. 5
6 Hand, Free Form, and CAD Csikszentmihalyi s definition of flow The importance of Design Environments Wearable Art Through Free Motion Stitching.pdf Chic Stitching.pdf 2/5 Introduction to Knitting Cameron Week 3 Effects of Coaction, Expected Evaluation, and Goal Setting on Creativity and Productivity.pdf Roadside Iconography.pdf Knitting Research Paper & Presentation Abstract 4 5 2/10 Personal creativity and frameworks used Definition of generativity to a wearable artist Introduction to Binding, Tassels & Coiling 2/12 Introduction to Fabric Manipulation 6 2/17 Introduction to Laser Cutting & Etching 2/19 Introduction to Felting Maturity and aging in the design process Creativity Chapters 7 & 8 Cameron Week 4 The Adaptable Mind in Design Relating Personality.pdf Red Hot.pdf Night Savana.pdf Creativity Chapters 9 & 10 Age Differences in Creativity.pdf Goddess of the Earth.pdf Cameron Week 5 Revisiting the Birth Order Creativity Connection.pdf Binding & Tassels Fabric Manipulation Laser Cutting & Etching Felting Abstract 5 Abstract 6 6
7 7 2/24 Introduction to Quilting Multi-disciplinary design processes exploration of work by by E. O. Wilson, George Klein, Jonas Salk, Barry Commoner, Hazel Henderson, Elise Boulding and John W. Gardener Creativity Chapters 11 & 12 Technologys impact on creative traditions_pieceful co-existance in quilting.pdf Sashiko Bride.pdf Celtic Heritage_SchofieldTomschinS.pdf Crazy Blues_Belinda Orzado.pdf Scent of the Orient.pdf The Quilted Spiral.pdf Those Crazy Lichen.pdf Windows_Past and Present.pdf Origami Hears Fly Over the Rainbow I.pdf 2/26 Cameron Week 6 Models of the Creative Process Past Present and Future.pdf 8 3/3 Introduction to Beading Csikszentmihalyi s views on creativity and survival and the relation of flow to learning how to foster creativity and foster flow for designers 3/5 Sources of Inspiration for Wearable and Fiber Art Revisiting Design Ideas How to apply a theoretical framework to your line Creativity Chapters 13 & 14 Cameron Week 7 The Nature of Creativity.pdf Change by Design Introduction, Chapters 1 & 2 9 3/10 Wearable Art vs Fiber Art Cameron Week 8 The Descriptive Challenges of Fiber Art.pdf Crossing the line_wearable to unwearable.pdf 3/12 Marketing Wearable Art Venues Change by Design Chapters 3 & /17 Spring Break!!! 3/19 Spring Break!!! Quilting Quilt patterns design on Opti- Tex Beading Complete Sample Notebook Abstract 7 Sample Notebook Abstract 8 Present Line Concept Abstract 9 7
8 11 3/24 Cameron Week 9 seven mile boots_the design process of a wearable art piece.pdf Crossing boundaries_ruth Lee.pdf 3/26 Change by Design Introduction, Chapters 5 & /31 The jury process for Creative Scholarship Examples of types of juried exhibitions The jury process for Creative Scholarship 4/2 Documenting Creative Scholarship in Written and Graphic Format Gallery Exhibit Design Process 13 4/7 The relationship of model building to the design process Cameron Week 10 Explorations in pleated fabric garment structures.pdf In the bag_contact natural dyes.pdf Change by Design Introduction, Chapters 7 & 8 Cameron Week 11 Undesigned_a study in sustainable design of apparel using post-consumer recycled clothing.pdf 4/9 Change by Design Introduction, Chapters 9 & /14 Finishing Techniques for Wearable and Fiber Art Cameron Week 12 The War of Art Book One Resistance: Defining the Enemy 4/16 Critique of progress on projects Could Creativity Be Associated With Insomnia.pdf Calla Lily_Eunkyong Hyun.pdf Cathedral_JR Campbell and Jean Parsons.pdf The War of Art Book Two Combating Resistance: Turning Pro Abstract 10 11:55pm Abstract 11 Abstract 12 Abstract 13 8
9 15 4/21 Writing Artist Statements Documenting Creative Scholarship on Resumes 4/23 Juried Exhibitions Resources for Finding Them and Submitting 16 4/28 Types of Design Portfolios Types of Animated and Electronic Portfolios Website Design The War of Art Book Three Beyond Resistance: The Higher Realm Cognition, Creativity, and Entrepreneurship.pdf Preferred Thinking Styles of Professional Fine Artists.pdf Marketing and the fiber artist.pdf Work on Digital Portfolios & Websites Artist s Statement 4/30 Photo-Shoot Items must be complete for photography 17 5/4 May 4, 4:00pm 6:00pm Present Designs, Digital Portfolios and Websites 9
1052 LeBaron Hall Telephone: Office Hours: Tuesday & Thursday 10:00am-11:00am
1 Apparel, Educational Studies & Hospitality Management TC 625 Design Theory and Process Spring 2013 Instructor: Dr. Eulanda A. Sanders Office: 1052 LeBaron Hall Telephone: 515-294-7857 Email: sanderse@iastate.edu
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