MEMORY: Schedule of Process

SESSION 1 [Friday]
Lecture – Memory and Meaning
Workshop – After displaying research information about their event, each group began to define various key words generated by the memory of the event. These words were used to generate two dimensional and three dimensional images of the memory.

Draw them in your sketch book describing the different images through the use of tone, line and shape. Rework the images in two dimensions and three dimensions using the paper provided. Draw them. Keep track of your thoughts and the ideation underlying each image.

WEEKEND
Continue to research your particular event. Your initial response should be to the first instance of the event, to appreciate the initial impact of the event. The next stage is to break down the memory of the event into the different layers of meaning that exist therein. Try to discern and analyse the various layers that envelop the memory of the event. These may be meanings to discrete people or parallel overlays, which contain different emotions and significance. From this analysis you can design shapes and forms, which have linear qualities. Try to visualize a hierarchy in the different layers.
You will then recombine these analytical separations into one overlaid design for submission on Tuesday. With the media you have chosen for the semester - pen, watercolor, markers, colored pencil etc. and compatible paper as the surface, use line, shape and colour to express the memory and to accentuate the types of meaning in your design. Limit your colour to a scheme that seems to reflect the overall essence of the memory. A clear hierarchy should emerge out of the 2D composition. The shape and proportion of your sheet format should also be chosen to fit the shape and movement of the memory.
Parallel to this process, begin to translate the developing 2-dimensional design into 3 dimensions. Generate about 5-8# quick 3D alternatives that focus on different aspects of the memory and different relationships of form (location, proportion, connection). Evaluate. Select 4 specimens and prepare for submission on Tuesday.

SESSION 2 [Tuesday]
Presentation must pinned up by 1:30 within Groups. PROGRESS: Level 1,2,3
Each design collective will present work to tutors and discuss implications and possible directions. Sketchbooks will be examined.

INTERIM
After choosing the most feasible direction, continue to “design” the installation. Remember the relationship between the dominant and subdominant elements. These can be spatial relationships. Ensure that an adequate exploration of the interior qualities of the installation is done. Maintain a human scale for the installation. Begin to think of material characteristics rather than actual materials (e.g. Rough instead of Concrete, Shiny instead of steel).
Explore the developing installation by sketching and testing with physical models. Cut a few sections. Start working on the final presentation.

SESSION 3 [Friday]
Group Discussion – Groups will gather to discuss latest progress with design tutor assigned. Discussions will cover the way forward and how to best represent your proposal for Session 4.

WEEKEND
Prepare a presentation of your memory installation for submission on Monday afternoon.

MEMORY: Prelude

What must be done?
Taking the Newspaper articles (csaheadstudio.yolasite.com) as a starting point, prepare a display/installation/exhibit that tells us as much about the event as possible. Try not to make it interpretive but rather objective and informative. Use a mixture of media to tell your story. These can include drawings (self-generated or reproduced), painting, photos, collage, audio, video etc.
Don't make a meal of it. In other words, don't overdo it!

Try to tell us:
Who were the main characters?
What were the main factors in the incident/event?
What was the context in which the event happened?
What is so important about the event?
What did it affect later on 10yrs, 20yrs, 50yrs...?
How is the event remembered today? poetry, art, music, books, images...

There are several books in the library that can help:
The story of the Jamaican people / Philip Sherlock & Hazel Bennett.
Available at the Library's Caribbean Collection and one can be found in the E.N. Isaacs collection in the library beside the office. I also have a copy for browsing in the office.

The history of Jamaica / Clinton V. Black.
Quite a number in the library.

Just to name a few...

The library has an excellent newspaper archive (access.newspaperarchive.com/AdvanceSearch.aspx) that has newspapers from 1748 including the Gleaner. You can only access it on Campus.

There is also google images and the right search terms.

Questions, Comments, Feedback... Click below...

FORM: Session 2 Feedback

Overall the amount of work produced for the session was commendable and the studio as a whole demonstrated the ability to come to the session on time with completed work. A couple persons arrived late or pinned up late and it is the responsibility of everyone else to encourage them to complete and pin up on time. Remember it is the work of the class that is being pinned up and when one is late, the class is late!

Progress
In an attempt to inform students about their status as the exercises/project progress, we will be informing you of the level of achievement after the interim presentation. We will respond with a "level" classification. The definitions are below:
Level 1 - This means the work presented/pinned up and shown in the sketch book is "behind the pace" of the studio. You may not have spent the requisite amount of time on the exercise or you haven't understood what is required of you. You will need to do a considerable amount of work to catch up in order to produce acceptable or fair work. If there is something you are not sure of or need help with, ASK!
Level 2 - This means the work presented/pinned up and shown in the sketch book is on track and on pace with the objectives of the studio. You will have spent the requisite amount of time on the exercise and/or you have a fair understanding of the task. Any slacking off or side adventures could seriously derail your initial efforts and produce work that is fair to poor. "Consolidating" or strengthening your position will garner good results. If there are any issues or directions that you want to tackle, ensure that your tutor is "on board" and aware of your efforts.
Level 3 - This means the work presented/pinned up and shown in the sketch book is ahead of where it should be with the objectives of the studio. You will have spent the requisite (or more than) amount of time on the exercise and/or you have a very good understanding of the task and the learning objectives. "Consolidating" or strengthening your position will garner very good results. There is opportunity for experimentation and focus without detrimentally affecting good output. Your tutor must be consulted & kept on board, if only to be aware of the progress of the work.

Presentation

• Names need to be placed on the FRONT of sheets at all times. You can use pencil but for a better solution; integrate it with the layout (make it a part of the presentation).
• Stick to the paper size specified. (and the amount requested)
• Use consistent, easy-to-read, printed (not cursive) text.
• Organise drawing elements on the sheet using good layout strategy - consider white space; align related elements; maintain consistent sizes; place text appropriately;
• There should an element of cohesion in the presentation of each tutorial unit. Try to agree on sheet orientation or color etc. We should be able to differentiate between groups at first glance.
  

Craftsmanship

• While we applaud the number of models, there must be some comment on craftsmanship. Make sure planes are oriented correctly (and not "lean"); corners meet accurately; material is cut cleanly; Forms are fully formed (no open ends);
• It is expected that lessons that were learnt in first year is applied in this studio. Bad line work is unacceptable. Make sure you that you observe spatial & planar hierarchy of lines; lines are continuous; drawings are clear;
• You should be using the interim review as opportunity to experiment with your media choice.

Process

• On the whole the studio took the process seriously and came up with good results. When communicating the process however ensure that the start, middle and end are shown. (not the final form alone as seen in some cases)

Comments, questions and feedback will be welcomed.

FORM: Schedule of Process

The following are the procedural steps that can be followed for the FORM exercise.

SESSION 1 [Friday]
Lecture – Formal Composition
Workshop – In groups, produce a large number of rectilinear planes in a wide variety of shapes (length x width). The shapes do not have to conform to the final dimensions in the task. Arrange the planes in combination with sticks, into groups of 3 (2 planes/1 stick, 1 plane/2 sticks, 3 sticks etc.) keeping in mind the guiding principles above. Evaluate the planar compositions with respect to visual interest, balance, “beauty” etc. Draw them in your sketch book describing the different constructs through paraline and elevation views. Rework the combinations, comparing them to the previous iterations. Draw them. Keep track of your thoughts and the design principles underlying each construct.

WEEKEND
Choosing the most interesting compositions, transform the lines and planes to volumes (in keeping with the principles above). Explore the resulting forms by sketching and testing with physical models. Vary the volumes as much as possible, making sure no two have the same measurement. Start with the dominant form then spend sometime locating the subdominant. Add the subordinate quickly to get a sense of the composition before refining.
Generate about 10 -12 alternatives making sure the compositions vary and contrast widely. Evaluate. Select 5 specimens and prepare for submission on Tuesday.

SESSION 2 [Tuesday]
Presentation. Projects will be graded
Staff in discussion with each design collective will choose about 8 compositions for further exploration and development.

INTERIM
After choosing the most feasible compositions, continue to “design” the construct. Fine tune the relationship of the dominant and subdominant elements. Experiment with the proportions of each element in relation to itself and the other elements. Explore the developing form by sketching and testing with physical models. Start working on the final presentation. Begin researching and experimenting with your chosen media.

SESSION 3 [Friday]
Lecture – Exploring Media
Group Discussion – Groups will gather to present latest progress to design tutor assigned to group. Discussions will cover the way forward and how to best represent your construct. You will refine the construct by drawing, making and analyzing the construct in both three and two dimensions. Sketchbooks will be examined.

WEEKEND
Prepare your final construct for submission on Monday afternoon.