Found 968 Learning Lab Collections
Talk with Me!
Having conversations with young children contributes to their thinking and language development. All conversations are good, but research shows that the quality of words children hear matters more than the quantity. Further, what’s best is an exchange; in other words, talk with children, not at them.
The Talk with Me Toolkits give parents and caregivers thematically organized high-quality, authentic materials to make children their conversational partners in discussions that matter. Each online toolkit features captivating videos and real-world photographs, as well as intriguing paintings and other artworks to observe and discuss through conversation prompts. Hands-on activities and books complete each toolkit. Simple instructions appear right in the toolkits, so you can jump right in. See what interests your child and get started. There’s a lot to talk about!
This collection explores Music. All children, including young children, have musical potential! For more information, check out the National Association for Music Education and their statement on music in early childhood here: https://nafme.org/about/position-statements/early-childhood-music-education/.
This series of four Smithsonian Learning Lab collections is funded as part of the Smithsonian Year of Music. #SmithsonianMusic
“Futurescapes. Storytelling and Video-Making Workshop: Using Digital Museums Resources to Imagine Our City in 2050”
This Learning Lab collection was made to guide participants during the Digital Storytelling workshop “Futurescapes. Storytelling and Video-Making Workshop: Using Digital Museums Resources to Imagine Our City in 2050””, a two-day event organised by the Storytelling Research Team at Loughborough University, UK, and hosted in the London campus at Here East on the 6th and the 7th of August as part of the East Education Summer School at Here East in Queen Elizabeth Olympic Park.
During the workshop, designed and facilitated by Dr Antonia Liguori, museums objects will be used to trigger stories about a day in East London in 2050.
- learn how to use the cloud-based video-editing software WeVideo to make their own digital story;
- explore the variety of museums digital resources available online;
- experiment with storyboarding techniques for creative writing;
- learn how to record and edit an audio file;
- be supported in the selection of images and the production of a short video;
- reflect on the 5-step Digital Storytelling process;
- increase visual literacy through close looking at art.
Digital stories work best when there are rewards for both the storyteller and the viewer. Stories are always told from the perspective of the storyteller and for maximum benefit, it is vital to carefully choose the right story to tell. All necessary information will be given during the workshop, but to maximise opportunities, participants need to bring with them an object or a photo that connects them to the place where they live now and/or to their idea about how this place could change in the future.
This workshop is also the final event of the EOOL project and aims to showcase the methodology applied in this EU funded project to explore its potential in other formal and non-formal education contexts.
Chair design is an excellent example of form and function working together. Some designs favor ergonomics, some favor aesthetics. The best marry the two. Students were challenged to create a chair for a client.
Search for your personal meaning in life. Who are you as an individual person? How do you connect as a member of your community? your country? the world?
What are contemporary issues in our world? What is your personal viewpoint on a contemporary issue? Can art be used as an agent of change?
Putting the "A" in STEAM. Can you imagine what doesn't exist but could? Can you visually communicate your vision to others? How can prototyping be used as a tool for exploration, invention and communication.
A collection of photographic prints made between 1915 and 1919 by a social worker named Elizabeth Howe Bliss. She traveled to the American South on behalf of the National Child Labor Committee, writing reports and documenting through photographs child laborers and their challenges accessing education. She also utilized her camera in New York City and in the French department of the Somme during WWI. These images currently reside within the Photographic History Collection at the National Museum of American History: Kenneth E. Behring Center, Smithsonian Institution.
[This collection is presently under construction as content is being added.]
Elaine Lustig Cohen (1927-2016) built a career specializing in book cover design, museum catalogs and building signage, most of which she inherited from her husband's business after his early death at age 40. Cohen was never formally trained as a designer, and worked as a production artist for her husband, after his death she took over the business and built a successful and highly regarded career. Much of the work she did in this phase included graphic design and signage for architectural spaces, having taken over a project for Philip Johnson upon her husband's death. In addition to signage Cohen's design work included idnity design and advertising as well as museum catalog designs, though most prolifically she produced work as book designer. Cohen closed her business in 1969, choosing instead to focus on painting, though she continued to take design jobs occasionally from clients and she designed catalogs for the rare book company, Ex-Libris, she founded with her second husband Arthur Cohen, while all of Elaine Lustig Cohen's work can be viewed as experimental it is the work she did for herself and her husband as clients at Ex-Libris that is exceptionally so. Some of her longest running clients included Meridian Books and the Jewish Museum, examples of work from both can be found in this collection along with catalog designs for Ex-Libris. Cohen earned recognition within the graphic design community with awards like the 2011 AIGA Medal.
This is a collection highlighting the career of graphic designer Elaine Lustig Cohen as part of the American Women’s History Initiative.
Willi Smith (1958-1987)
Willi Smith was an African American fashion designer whose street wear line known as WilliWear was and experiment of democracy in fashion. WilliWear designs were known to be bold, blurring the lines between high and low culture, and his work often involved collaborations with other artists and designers. The openly gay designer's career was cut short when he died in 1987 from complications from HIV/AIDS.
This collection is a representation of the 2020 exhibition Willi Smith: Street Couture at the Cooper Hewitt Design Museum, which features over 200 pieces from Smith’s work and career and his numerous collaborations with artists, dancers, choreographers, graphic designers, architects, and more. The works on view include video, sketches, patterns, photographs, and garments.
Dorothy Wright Liebes (1893-1972) was a textile designer who is known for having developed a distinctive look, including vibrant colors and patterns that became synonymous with the Modernist movement in California in the 1940s and 1950s. Widely traveled, Liebes often drew inspiration from the places she visited around the world for her unique textile designs. Her designs often include bold colors associated with California Modernism. Liebes experimented with materials, aside from traditional materials such as silk and cotton, she was also know to incorporate cellophane and plastics as well as metals and metallic yarns into her designs. Fiercely determined and career driven, when her husband Leon Liebes suggested she quit working she divorced him, choosing herself and her career over the marriage. Her designs were so successful and sought after that they inspired many imitations.
Contributions of Liebes can be found in the Archives of American Art, the National Portrait Gallery as well as the Copper Hewitt, Smithsonian Design Museum, this collection included examples across the Smithsonian but primarily focuses on content from the Cooper Hewitt.
Trude Guermonprez (1910-1979) was a highly regarded textile designer born in Germany. Guermonperz immigrated to America and began teaching weaving at the Black Mountain College in North Carolina until the weaving program there ended. Trude Guermonperz then went on to teach at the California School of Fine Arts (now the San Francisco Art Institute), and finally at California College of Arts and Crafts (now known as the California College of Art & Design) where she became chair of the department. Through her teaching Guermonperz had an enormous impact on American weavers, many cite her as an influence and inspiration. Trude Guermonprez's work includes designs that were completed for clients and industry as well as broad collection of highly experimental pieces. This collection includes examples of functional designs for clients, experimental designs and samples, as well as a selection of her beautifully rendered sketches for designs.
This collection focuses on the objects within the Cooper Hewitt, Smithsonian Design Museum collection from Trude Guermonprez, yet also includes photographs of the designer from the Archives of American Art.
Domingo Ulloa's "Bracero": and "Bittersweet Harvest": Using Art and Historical Documentation to Deepen Understanding
This teaching collection helps students to look closely and think critically by examining Domigo Ulloa's painting, Braceros, and historical documentation related to the bracero program, a series of short-term labor contracts from 1942-1964 in which an estimated two million Mexican men came to the US to work on farms and roads. The collection prompts students to consider the program from a variety of perspectives, including individual, collective, social, economic, and political.
Included here are the painting, a bilingual video with Smithsonian American Art Museum (SAAM) curator E. Carmen Ramos, four suggested Thinking Routines - "See, Think, Wonder," "Step In, Step Out, Step Back," "The 3 Y's," and "Think, Feel, Care" - from Harvard's Project Zero Artful Thinking and Global Thinking materials, supporting digital content from the National Museum of American History, and a blogpost from SAAM of two DC student's written responses to the prompt, "What Domingo Ulloa's Braceros Means to Me."
For use in Social Studies, Spanish, English, and American History classes
This collection supports Unit 1: Intersectionality of Economics, Politics, and Policy, of the Austin ISD Ethnic Studies Part B course.
This Smithsonian Learning Lab collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
This teaching collection helps students to look closely and think critically by exploring an Ecuadorian boat seat, the first object donated to the National Museum of African History and Culture, and how this tangible object represents the survival and transmission of intangible cultural heritage in the African diaspora. The seat belonged to Débora Nazareno, a descendant of enslaved Africans in Ecuador, and is engraved with Anansi, a popular spider figure in West African folklore. The boat seat was gifted to the museum by her grandson, Juan Garcia Salazar, a renowned Esmeraldan historian.
Included here are the objects itself, a bilingual video with curator Ariana Curtis, two suggested Thinking Routines - "See, Think, Wonder" and "Unveiling Stories" - from Harvard's Project Zero Thinking and Global Thinking materials, and supporting digital content about the museum display, Maroon communities, Anansi, the oral tradition.
For use in Social Studies, Spanish, English, and American History classes
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 collection is designed to explore the essential question: How do designers understand and experience the needs and wants of stakeholders?
It looks into the design with empathy approach used by Michael Graves to design and test the Prime TC wheelchair for use in a hospital environment.
- Examine methods for developing empathy for your stakeholders
- Gain familiarity with the design process
- Understand what the steps of the design process might look like in application
- What kind of things did the designers research?
- What methods did they use to research and document primary data?
- Who worked with the designers on this project? What value did this add to the project perspective?
- Which stakeholders did the design specifically accommodate?
- How were stakeholder needs prioritised?
- What were the main issues the designer was trying to combat?
- List the steps of the design process evident in the case study.
Analyzing Roger Shimomura's painting "Diary 12, 1941" and understanding Japanese American internment
The press and media have influenced America even before it was a country. The goal of this learning lab is to show the effect media has played on our democracy. It is also important to understand the bias that media and press can have on us everyday. Realizing this influence can make all of us better citizens.
This collection explores the significance of the Contemporary Muslim Fashions exhibition at the Cooper Hewitt Design Museum. Contemporary Muslim Fashions includes an ongoing trend in modest fashion that extends beyond strictly Muslim audiences. The collection also examines examples of fashion from various regions, including streatwear and couture fashion, as well as current trends in overcoming the obstacle of athletic wear for modest and Muslim women. Finally the collection includes news articles that discuss the exhibition as well as the impact of contemporary Muslim fashion on the global community.
Lanette Scheeline (1910-2001) was an American textile and wallpaper designer. Designs by Scheeline were often custom and created using block printing, intaglio and machine printing techniques. She also experimented with printing designs on Japanese paper. Her designs were largely influenced by natural forms and botany, which can be seen in this collection. Scheeline's working career overlapped with World War II, during which she worked in a shipyard, she returned to her career as as designer after the war.
Eva Zeisel (1906–2011) was born in Budapest and only immigrated to America in 1938 after having been imprisoned by the NKVD in Russia for an alleged plot on Stalin's life. She lived in America for the rest of her life though she continued to work internationally and worked until she passed away in 2011 at 105. Zeisel created designs for American, German, Italian and Japanese companies and her list of clients includes Sears, Roebuck as well as more recent clients such as Crate and Barrel. Zeisel was the recipient of many honors and awards, including an exhibition at The Museum of Modern Art in l947 and a Lifetime Achievement award from the Cooper Hewitt in 2005. This collection includes sketches for designs as well as finished ceramic pieces. Note that her most colorful and loudly patterned pieces are designs for German companies.
Includes a video that is roughly 58 minutes long, introductions last about 4:40 then talk begins.