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Found 6,098 Collections

 

Writing Flash Fiction from Artwork Part II

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.


Julie Harding
38
 

native americans

Native American artifact

holly roberts
11
 

spanish america and brazil: state and church

Glynna N. and Cleo K.

Glynna Nathan
8
 

What's a Lichen? How a Smithsonian Scientist Studies a Unique Symbiosis

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/...

Maggy Benson
29
 

American Landscape

Images of landscapes can tell you about how the artist views his or her nation in the moment. What does it value? What does it aspire to be? What are its strengths and limitations? 

Evaluate to what extent views of American Identity changed from 1800-1980.

Sarah Wiseman
8
 

Getting Started with Design Thinking Part II - Design Prototype

Using Design Thinking to Design and Prototype 

Students will be tasked with creating a design a place to sit for the school Design & Manufacturing shop.  Students will access items from the Cooper Hewitt learning lab collection as well other materials and apply the Design Thinking Process. 

Mary Marotta
12
 

Immigration Policies and Legislation Affecting Asian Pacific Americans

This topical collection includes resources about immigration policies and legislation that affected, or specifically targeted, immigrants and those with ancestry from Asia and the Pacific Islands.  The policies and legislation profiled in this collection are not the only ones that did so by any means, however, they are some of the most significant.  Collection includes newspapers, objects, portraits, articles, and more.

Teachers and students may use this collection as a springboard for classroom discussions, such as those about immigration policy and/or discrimination. This collection is not comprehensive but rather provides a launching point for research and study.

This Smithsonian Learning Lab collection received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center. 

Keywords: chinese exclusion act, 1882, wong chin foo, immigration act of 1917, literacy act, asiatic barred zone act, angel island, japanese incarceration, japanese internment, executive order 9088, 1942, world war ii, world war 2, immigration and nationality act of 1965, hart-celler act, immigration act of 1990, h-1b visa

#APA2018 #EthnicStudies


Tess Porter
53
 

Jamestown See Think Wonder

( Curated to support Virginia Standards of Learning for the  Virginia Studies course.)


Debbie Tannenbaum
9
 

Exploring Fear with the Dark Romantics

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.

#NPGteach

Leslie Reinhart
12
 

Community Groups

Images support the second grade "Out and About" lesson.

Jean-Marie Galing
12
 

Textiles

For primary grade weaving lessons

Jean-Marie Galing
14
 

Houses

Images support learning in first grade "Dream House for My Family" lesson. For architecture puzzle activity, print selected images and cut them into pieces that focus on parts of the building. Allow table groups to work together to reassemble the house image and name the parts of the house.

Discuss images of model houses to introduce the lesson challenge: Create a 3-dimensional model of a dream house for your family.

Jean-Marie Galing
11
 

Family Pets

Jean-Marie Galing
15
 

Family Helper

Images of children performing tasks that help their family.

Jean-Marie Galing
7
 

Representational, Abstract, or Nonrepresentational?

Introductory Activity: Print image cards for small group collaboration. Students will sort images into three categories:

  1. Representational Art (realistic imagery)
  2. Abstract Art (recognizable imagery that does not reflect actual appearance)
  3. 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

  1. The illusion of movement or rhythm
  2. Visual tension
  3. A mood or feeling


Jean-Marie Galing
25
 

Stem Day

Amanda Miley
6
 

Benefits and Challenges of the Industrial Revolution

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.

Melanie Kirchhof
11
 

Americanization - Impact on American Indians and Immigrants (1860-1920)

This collection includes before and after images of American Indians and Immigrants who have been"Americanized."

Melanie Kirchhof
7
 

Visualizing Guns Violence

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.

Research
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. 

Implementation 
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
Rutgers University-Newark

Founding Director of The Design Consortium & XPress | Center for Typography initiatives at Express Newark

Co-Founder
BRED | a collaborative design lab
www.brednation.com
Instagram: bred_letterpress



 

 

Ned Drew
137
 

coil pots

One of the oldest handbuilding techniques is coil building. Although coil pots are common, they can be very unique.

Julia Engler
8
 

Lessons in the Language of the Suffrage

__________________________________________________________________________________________________

19th Amendment: 

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. 


_________________________________________________________________________________________________

DESCRIPTION/PURPOSE: 

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

Learning Objectives:

+ 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.


__________________________________________________________________________________________________

DELIVERABLES

• 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)


__________________________________________________________________________________________________

Brenda McManus
Assistant Professor  | Art Department | Pace University-NYC   

Co-Founder
BRED | a collaborative design lab
www.brednation.com
Instagram: bred_letterpress


 

Brenda McManus
96
 

Digital tools for Social Impact

This collections includes examples of digital and interactive design presenting innovation in technology-based media and involving mobile applications, data visualization, mapping, augmented/virtual reality and robotics, to examine social justice issues and/or provide a social service. 

Projects & case studies demonstrate how the strategy and craft of design, as well as digital storytelling, are aimed to effect change in communities throughout the world.




Chantal Fischzang

Assistant Professor
Department of Arts, Culture & Media
Rutgers University-Newark

Co-Director
Design Consortium
Visual Means




#socialImpactdesign #designforgood #digitaldesign #digitalstorytelling #digitaltools #servicedesign #interactivedesign #datavisualization #socialjustice


Chantal Fischzang
22
625-648 of 6,098 Collections