Found 654 Learning Lab Collections
This collection is comprised of archival content from the Austin History Center and KLRU's Austin Revealed: Pioneers from the East project. This collection features the Sing family, one of three of the first Chinese families in Austin. It explores topics of citizenship, migration, immigration, naturalization, interracial marriage, preserving history, and Asian American history.
Using the Project Zero Visible Thinking routine "See Think Wonder," this activity explores the struggle of suffragists during the American suffrage movement through deep analysis of one object - a pin, worn by suffragist Alice Paul, in the shape of a jail door with a heart-shaped lock. Pins such as these were given in a ceremony to suffragists who were imprisoned as a result of the 1917 pickets. Includes the pin, an article discussing the history behind the pin, and multiple photographs suffragist picketers.
Keywords: women's rights, suffrage, suffragette, protest, reform, civil rights, equal rights, alice paul, jailed for freedom, pin, national women's party, nwp, voting, vote
Subject: AP Language, Rhetorical Analysis
This collection features portraits (some that can be used for comparing and contrasting) for studying and practicing usage of the rhetorical triangle. Students may also SOAPSTone the images.
- Students will observe different portraits.
- Students will analyze different portraits using the rhetorical triangle.
- Students will recall lessons from history to apply background knowledge to the analysis.
This collection was created in conjunction with the National Portrait Gallery's 2018 Learning to Look Summer Teacher Institute.
Who was Daniel Boone? Was he more than a stereotypical American frontier hero? Explore Daniel Boone and his relationship to the native plant, ginseng, through this collection and series of activities.
Daniel Boone (1734-1820) spent much of his adult life blazing trails through the American wilderness. Through exploration and opening the wilderness, Boone and others were able to exploit its many rich resources, including the profitable plant American ginseng. He rose to the status of American legend, becoming known as someone who braved hardship and danger to bring the earth's resources to the market. The legend of Daniel Boone and his-lost-ginseng illustrates the way such stories can reflect historical fact. But become exaggerated or distorted through many generations of story tellers, and, now, via the internet. History and fiction become intertwined.
While the days of American pioneers are long gone, people still search for and gather wild ginseng in the mountainous regions that Boone frequented. Learn more about Boone's adventures and American ginseng throughout this collection. Be sure to click the Information icon to learn more about each item.
To learn more about Daniel Boone and his efforts to explore the wilderness, visit the Learning Lab collection -The Wilderness Road- .
This is a project for my online US history class. Which is about certain artifacts in the 1920s-30s.
This collection will be used for a gallery walk, to introduce students to some of the big ideas in Henrik Ibsen's A Doll's House.
Climate change is a huge issue facing our society. Our students have expressed tremendous concerns about the global impact of the climate crisis.
As part of this learning lab, student teams are tasked with designing and prototyping an alternative energy solution for NYC.
Before embarking on their own designs, students will use the resources to learn about earlier climate campaigns, what scientists and engineers are doing today and will explore models, prototypes and solutions that are already existent.
This collection highlights variations on a theme through works of art: George Washington Crossing the Delaware, George Washington Carver Crossing the Delaware and Shimomura Crossing the Delaware. Comparisons of these works could serve as springboards for discussions about identity, immigration, "master" or dominant narratives in history, and hero myths.
Is American Culture always perceived in the same way by everyone or does it differ from person to person?
A design project’s aesthetics and cultural impact are usually the primary consideration as to the effectiveness and quality of a designer's approach to problem-solving. What is often overlooked in these perspectives are the various preliminary approaches that designers employ—how do we visualize and ultimately share our ideas with others?
Within design education, projects are usually conceived to help expose students to the “design process,” an often-complex journey of experiments and discoveries. This process helps guide students in the creation of future successful design solutions. With the progress of the digital experience (PowerPoint presentations, iPhone apps, and Virtual Reality), the art of the sketch seems to be a casualty of the current state of the design process.
What can we learn from a sketch? Is the sketch a dead art form, forever packed away in folders or archives never to be seen again? Or, can we reevaluate its historical contributions in the design process and creation of artful typographic syntax and hierarchy, image creation, and narrative development?
Most often, these small, thumbnail sketches speak only to a limited audience (Art Directors, other designers, or only the designer themselves) and, therefore, usually have a limited impact. But, in the hands of a skilled and creative designer, these sketches can mean the difference between success or failure, the green light, or the idea being squashed.
As a supplement to several educational design projects, this collection attempts to expose students to the value of the simple pencil sketch. How can we use the sketching process to encourage young designers to visualize away from the computer and avoid the digital “sameness” pervasive in our visual world?
This collection attempts to chronicle the process of various designers and their projects (both large and small, complex, and simple) and presents their approach to preliminary ideation through the sketching process. The collection includes thumbnails, photographs, color studies, line reductions as well as the completed project in hopes of revealing The Value of a Simple Sketch.
Willi Kunz, (1943 - ) Swiss-born Kunz, played a significant role in the introduction of the new typography developed from Basel to the United States, where he currently lives and works.
Dan Friedman, (1945–1995) noted American graphic and furniture designer and educator. One of the significant contributors to the New Wave typography movement.
Painter Piet Mondrian (1872–1944) was the leader of the Dutch De Stijl movement, where he implemented an extreme visual vocabulary consisting of planes of primary colors, simplified right angles, and linear accents.
Tom Engeman, (1934 - ), American designer and Illustrator who has designed and illustrated several stamps for the United States Postal Service, including the Flags of Our Nation forever stamps and the 150th Anniversary of the Smithsonian commemorative stamp.
This is a student activity about rhetorical strategies for persuasion using both text and images. The images in this collection are different advertisements published in the United States during the 1950s. As you look through them, think about these questions:
-What do the advertisements of the 1950s indicate about the postwar economic boom, as well as advances in science and technology?
-How did these things change American life?
-How do these images compare to American life in the 1930s (during the Great Depression and prior to World War II)?
This topical collection of resources and analysis strategies can be used as a brainstorming tool to support student research on the National History Day (#NHD) 2020 theme of "Breaking Barriers in History". This collection focuses on primary and secondary sources on the accomplishments and contributions of aviator, Ruth Law.
#BecauseOfHerStory #NHD #NHD2020
Tags: Ruth Bancroft Law Oliver, aviator, world records, flight, military, World War I, women's history
Women’s Right to Vote
Passed by Congress June 4, 1919. Ratified August 18, 1920
The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.
Congress shall have power to enforce this article by appropriate legislation.
2020 marks the 100th anniversary of the 19th Amendment.
The suffrage movement of the mid-nineteenth century, recognized today as the first wave of “feminism,” continues to influence and inspire the ongoing struggle for women’s rights. Many of the methods and strategies of our early pioneers serve not only as inspiration, but, as a model for effective communication that is still relevant today.
“Man was given an eye for an ear.”
— Marshall McLuhan, The Medium is the Massage
The pioneers of the suffrage understood the power of the visual message. Their use of color, branded collateral, such as badges, banners, ribbons, and the promotion of their political messages, through the traditional means of posters and postcards, drew attention and created a precedent for protesting copied around the world by other political movements, including today.
These pioneering women used simple language and ‘conversations’ in an attempt to educate people about the injustices of the legal system. These messages were often hand generated in a vernacular manner. The poster, in particular, proved informative, accessible, and an effective medium for the dramatization of a specific point of view.
This collection serves as a brief visual research of language and methods of communication of the suffrage. Through a formal and conceptual investigation of hierarchy and composition using the timely messages of the suffrage, students will explore the process and historical method of poster making, the letterpress printing process.
Students will explore the vocabulary of the Women’s Voting Rights Movement through a series of typographic letterpressed permutations. Students will identify and explore themes that are different, as well as those that have remained the same for any disenfranchised individuals in the United States.
Each student is to choose one of the quotes provided in the presentation or find a relevant quote of the time. This will serve as the content for the typographic studies. Depending on the students’ concept for the poster, additional research and text may be required.
PHASE 1: Typographic Interpretations
Design a poster representing one of the historic statements of the suffrage. Your poster can remind people of the amendment’s original purpose and importance and/or raise awareness about a particular issue related to the amendment. There are plenty of high profile issues in the news now that directly relate this amendment. Your audience is college students.
“ All typefaces serve fundamentally the same purpose: to communicate. The purpose behind the communication –
for example, to inform, to entertain, or to persuade – is expressed, in part, by the typeface chosen. As the
communication objectives change, so might the typeface.” – Willi Kunz
Typographic Process and Checklist
1 review content – reading/understanding.
2 search for inherent structure/patterns/rhythms within the text.
3 develop preliminary plans for hierarchical structures.
4 sketches – create quick but meaningful “road maps” of your thoughts.
5 develop concepts of “center and support” configurations.
6 construct preliminary, secondary & tertiary alignments.
7 form constellations that house sub-thoughts within the text (grouping info.).
8 consider/reconsider overall composition while thinking about “activating the edge.”
9 play against the viewer’s expectations.
10 legibility (clarity and efficiency in reading) vs. readability (pleasure and interest in reading)– Willi Kunz
PHASE 2: Type & Image Interpretations
+ Integrate text + image using the four methods described in the book Type, Image, Message by Skolos + Wedell
+ Recognize the design opportunities that come with using type as an image
Type, Image, Message by Skolos + Wedell
Separation, Fusion, Fragmentation & Inversion
Separation – when the type & image operate independently. Reinforce messages. Type spaces & image spaces.
Fusion – when the type and image blend to form a unit. Type & image connected by perspective—blend 2 plus things that aren’t usually associated. Conceptually connected. Political or poetic statement. Metaphor
Fragmentation – when the type & image disturb or disrupt each other. Torn, divided, uneven, disparate. Scale, color, complication. Unpredictable, random, animated, energized message.
Inversion – form of fusion when type & image trade places & the type takes on pictorial properties or the image takes on type qualities. Harmonious. Type as photo, or hyper-realistic. Letters as frames for images.
• Two 14 by 17 inch letterpressed posters. One typographic solution. One type and image solution.
• Printed in 2- 3 color
• Quote selected must be included (but does not need to be the primary read)
Assistant Professor | Art Department | Pace University-NYC
One of the oldest handbuilding techniques is coil building. Although coil pots are common, they can be very unique.
At Rutgers University-Newark and within the Graphic Design Program, we offer two courses that focus on community-based (the Design Consortium) and research-oriented (Visual Means) activities. These classes are part of a larger initiative, and art incubator called Express Newark, where community and the university interact, collaborate and co-create.
In addition to the DC and VM courses, we offer an advanced design studio course that focuses on unique design applications through the use of the letterpress printing process, also located at Express Newark. This coming spring, I will be teaching the letterpress course, and in the following fall, I will teach the Visual Means course. Within both classes, I will be looking to develop different ways of visualizing gun violence.
Gun violence is one of the most critical and complex issues we currently face in the United States. Rutgers University has recently created the New Jersey’s Center on Gun Violence. The center’s mission looks to “conduct interdisciplinary research on the causes, consequences, and solutions to gun-related violence while respecting the rights of legal, safe gun ownership and use.” Within the Visual Means course, I plan to work with researchers from this center on developing ways of visualizing the complicated and overwhelming data disconnect between research and public understanding of gun rights, safety, and violence.
What I plan to do with this Learning Lab is to use it as a repository of images, concepts, facts, texts, and web-based information. In the coming months, I will develop a pedagogical approach that weaves together methods of research, visualization, and implementation into various applications of visual communication and graphic form. The Learning Lab will grow as our knowledge about this subject increases and while documenting our process of research, visualization, and implementation.
Step 1 - Learning Lab
We will use the Learning Lab as a repository for our impressions and image collections that show the different ways in which guns have been woven into the mythology of America and seen in our collective culture. Using different lenses such as art, film, photography, sculpture, advertising, satirical cartoons, comics, pop culture, propaganda, and protest, my students and I will attempt to take apart and reconstruct our understanding of the many issues surrounding this divisive topic.
Visualization and typographic experimentation
Step 2 - Weather Report
Dan Friedman, American, 1945–1995
While teaching at Yale University, Dan Friedman developed a teaching method that is still used in many schools today—the Weather Report. Through a series of detailed parameters, students will be asked to create different permutations that experiment with various interpretations and hierarchies. As students advance through this assignment, the limitations are slowly lifted, and students begin to generate solutions that are more and more expressive, dynamic, and experimental. Using this method, students will experiment with various hierarchies and typographic solutions—setting the stage for the letterpress printing process.
Step 3 - Letterpress process
Working with content generated from our research, relevant information, thought-provoking content, quotes, or statistics, students will explore various methods of experimenting with typographic structure and syntax. Using the Learning Lab, students will be exposed to the dynamic work of the Futurists, Constructivists, the Bauhaus, late Modernists, and the explosive typography of the New Wave designers.
Designers would include:
Filippo Tommaso Marinetti, Italian, 1876–1944
The Futurists were known (amongst other things) for the emotive and expressive typography.
El Lissitzky, Russian, 1890–1941
Russian Constructivism who experimented with developing a universal language based on simple shapes and reductive color.
Ladislav Sutnar, Czechoslovakian, 1897–1976
Sutnar’s visual communication often explains complex information and concepts unambiguously and with a spartan efficiency. The Constructivist brought great structure and organization to their typographic messages through minimal means in an attempt to generate a universal visual vocabulary.
Herbert Bayer, Austrian, 1900–1985
Jan Tschichold, German, 1902–1974
Max Bill, German, 1908–1994
At the Bauhaus and through its influences, designers brought together various conceptual approaches to the organization and implementation of articulate typographic applications.
Alvin Lustig, American, 1915–1955
American designer Alvin Lustig (along with Paul Rand, Bradbury Thompson, Lester Beall, Ladislav Sutnar, and others) was instrumental in developing a mature, Modern approach inspired by Europe to American graphic design and typography.
Wolfgang Weingart, German, 1941–
Teaches at the Basel School of Design and separating himself from some of Late Modernist’s more restrictive characteristics while redefining for himself an expressive typographic approach through experimentation and practice.
April Greiman, American, 1948–
Inspired by Armin Hofmann and Wolfgang Weingart and her experiences in Europe at the Basel School of Design, Greiman brought a fresh and unique perspective to graphic design within the United States.
Bruce Licher, American, 1958–
American typographer and letterpress designer that works within the traditions of letterpress printing while pushing the edges of typography, unique form, and graphic design applications.
Professor Ned Drew
Graphic Design Faculty
Founding Director of The Design Consortium & XPress | Center for Typography initiatives at Express Newark
This is a collection of images that represent the different aspects, issues, events, and people of the Industrial Age (1870-1910), including urbanization, immigration, working conditions, growth of industries, and technological innovations.
Introductory Activity: Print image cards for small group collaboration. Students will sort images into three categories:
- Representational Art (realistic imagery)
- Abstract Art (recognizable imagery that does not reflect actual appearance)
- Nonrepresentational Art (does not represent a depiction of the physical appearance of people or objects)
Formal Analysis Activity:
Choose a few images to compare and contrast: How did the artist use line, shape, color, balance, repetition, or overall composition to convey
- The illusion of movement or rhythm
- Visual tension
- A mood or feeling
This lesson would be taught at the end of the dark romantic literature unit. After exploring the traits of the era, students will be tasked with writing their own haunting story to mimic the authors we've read. They will use Fritz Eichenberg's"Dream of Reason" and a see-think-wonder activity as their starting point and inspiration.
This collection supports the free Smithsonian Science How webcast, "What's a Lichen? How a Smithsonian Scientist Studies a Unique Symbiosis," scheduled to air on November 14, 2019. Manu is a scientist at the Smithsonian who studies lichens, a lichenologist. She collects lichens from all over the world, depositing them into the U.S. National Herbarium, which is located at the Smithsonian’s National Museum of Natural History. Manu identifies the lichens she collects with observations of how the lichen looks, their DNA data and where they were found.
Lichens are a symbiotic relationship between algae and fungus. They have been on earth for millions of years, living on rocks, trees, and soil in all different habitats on all seven continents. Even though lichens are all around us, scientists are still learning about what they are, where they live, and how many different species of lichens there are.
Fungus is any group of spore-producing organisms feeding on organic matter, and include molds, yeast, mushrooms, and toadstools. Algae is a simple, non-flowering plant. Algae contain chlorophyll and produce sugar through photosynthesis, like other plants, but do not have true stems, roots, leaves, or vascular tissue like most other plants. Lichenization is a fungal lifestyle, and therefore the name of lichen is the name of the fungus component.
When you look at a lichen, what you’re looking at is the “house” that the fungus and algae grow together. Scientists call this house a “thallus.” When algae and fungus come together to form this house, we see a lichen. This partnership is called a symbiotic relationship, because it helps both the fungus and algae survive. Research has shown that lichens are not a natural biological group, meaning they do not all come from a single common ancestor, in other words, lichens have many origins. Currently there are almost 20,000 species of lichenized fungi known.
In this symbiotic relationship, the fungus and algae benefit from being associated with each other. The fungus provides the house, its shelter (the thallus). This shelter helps the algae survive in habitats where it would otherwise be exposed to the elements and possibly could not survive. The algae provide food for the fungus, in the form of sugar. The sugar is a byproduct of photosynthesis that occurs within the algae.
Lichens are very important for the environment. They are an important food source for many animals, provide nest materials for birds, and provide habitat and material for biomimicry for insects and other organisms.
Lichens are also important for humans by providing natural dyes, perfumes, litmus paper, and even food. Humans even use lichens as bio-indicators, organisms that help humans monitor the health of the environment. Some species of lichens are sensitive to environmental pollution, so their presence or absence can help us understand more about the health of the environment, like air quality.
Lichens produce over one thousand different chemical compounds, most of them unique to lichens. These compounds include acids and pigments. Some chemicals may even fluoresce under UV light, making them important components for lichen identification.
Lichens have DNA, which is used to identify lichen and compare relationships amongst and within species. DNA analysis has been an important tool for lichenologists in identifying and understanding the biodiversity of lichens.
Sign up for the Smithsonian Science How webcast to introduce your students to Lichenologist Manuela Dal Forno! The program airs at 11am and 2pm on November 14, 2019. Sign up and view the program here: https://naturalhistory.si.edu/...
In this Collection, students will choose art to help generate a second piece of original flash fiction.
Flash fiction - which is limited to 750-1500 words - is uniquely useful to developing writers because it allows them to practice their writing skills over a number of shorter pieces. The artwork is of great purpose to creating Flash Fiction because it can provide a writer with three of the five essential elements - Setting, Situation, Sensory Detail - as identified by Katey Schultz of the Interlochen College of the Creative Arts. Another useful resource is found here.
The theme of TIME can be explored in art using key concepts throughout the semester or year. Explore various concepts related to the idea of TIME by playing the Connections Card Game. The mind maps made after playing the game can be used as a reference throughout the course.
- Download and print images on card stock (resource attached to this collection). Create multiple sets for small groups to play the game.
- Print Key Concept Cards (resource attached to this collection)
- Take turns choosing a card and connecting it to a key concept by placing it near an appropriate Concept Card.
- Defend choice with evidence in the image.
- After all cards have been played, students make inferences about how people experience, measure or represent time.
- Small groups collaborate to draw a mind map to illustrate their ideas.
- Present maps in a "Carousel Interview." One group member stays with the mind map to answer questions; other group members visit tables to explore mind maps and ask questions.
- Return to original group. Encapsulate overarching ideas and record them on your group's mind map.
Use this collection to help jumpstart your brainstorming process. As you examine how two designers went from brainstorm to final product, you'll practice three brainstorming strategies:
- Generating as many ideas as you can
- Keeping the flow going by saying "Yes, And..."
- Generating new ideas by combining 2 existing ideas
Students will survey the pieces in this collection and make connections between the pieces and the attached poems.
With a small group, they will read and explain their assigned poem. Then, they will select a work of art that they think BEST represents the poem from the five suggestions. In their presentation, they will explain the poem to the class, and they will explain their choice of artwork, specifically explaining what criteria they used to make their selection. Students complete the activity by selecting the best poetry/art pairing and explaining their reasoning with evidence from both pieces.