Design One: Ideation, Representation, and Submission Practices — Comprehensive Notes
Pretest and class aims
Begin with a pretest administered at the start and end of the term to gauge learning gains and course effectiveness.
Use pretest/posttest data to evaluate which elements to adjust in teaching methods.
Encouragement: if you don’t know an answer on the pretest, that’s okay—aim to know how to solve it by the end of the semester.
Photo scavenger critique and observations
Images collected yesterday from the photo scavenger exercise; still operating without full term definitions for many terms, but most examples were solid.
Line: examples include fences (corrugated) and wood panels; common focus on line quality.
Shape: diverse shapes found in environment; some organic, some geometric.
Pattern and texture: many strong submissions; appreciated that students noticed both man-made and natural forms.
Illusion of space: outside scene is three-dimensional, but a photograph is a flat plane; in design work, avoid relying on literal space since it’s a two-dimensional image.
Illusion of motion: tricky because static subjects can appear motionless; effective images suggest anticipated movement (e.g., a walking cat, moving water) rather than actual motion.
Value: common misunderstanding equating value with monetary worth; value is about lightness/darkness scale, i.e., shades of gray from black to white; can be represented with color or grayscale; shadow work helps convey value.
Color: students demonstrated understanding through flowers, greenery, and outdoor scenes.
Submission challenges: low compliance with instructions; few groups followed all directions.
Implications of non-compliance: potential reasons include not reading instructions or not caring; emphasize following submission guidelines going forward.
Submission guidelines reiterated: label files as requested, submit correct file type, include required notes, and read all instructions thoroughly; even though today’s project lacked a file type, future submissions will specify one.
General takeaway: establish careful, repeatable submission routines to set up professional habits for portfolios, jobs, internships, and scholarships.
Instructions and expectations for submissions
Reading and following directions is critical; non-compliance can affect opportunities (even when stakes are low).
Practice a check-in routine: if unsure, contact the instructor or a professor to review before submission.
This expectation applies across all classes and future professional contexts (portfolio submissions, job applications, scholarships).
Ideation (ideation vs. sketching) and its importance
Topic shift to ideation generation; terminology: ideation is interchangeable with sketching, but the instructor prefers the term ideation.
Ideation is a major grading component; emphasis on producing many ideas rather than settling on the first good idea.
Real-world relevance: in client-based work (graphic design, landscape architecture, architecture, interior design), multiple ideas are needed so clients can choose from variety.
Process guidance: push beyond the initial ideas and resistance; even ideas that don’t fit current project can inform future work.
Core philosophy: innovation comes from generating unique ideas for yourself, not simply copying others.
Classroom norms: students should put away devices and actively listen to stimulate the creative process; mutual respect is expected to strengthen collaboration.
End goal: ideation helps build confidence and prepares students for future professional practice.
Relationship to project outcomes: ideation work often informs the final product; the process matters as much as the finished piece.
Design practice, critical thinking, and time management
Design basics class focus includes elements and principles, plus development of critical thinking and creative problem solving.
Real-world constraints: media availability and material constraints require flexible problem solving and adaptation.
Techniques and best practices: some execution techniques will be covered, but more content will appear in drawing and studio courses.
Time management guidance: assess your personal pace—some work slowly but steadily, others procrastinate; develop methods to avoid end-of-term stress and poorly conceived outcomes.
Critiques: critiques involve three professionals from different areas; feedback is not personal and should be treated as multiple viewpoints to select from.
Feedback strategy: use feedback that resonates with you from different instructors to improve the design.
Grading emphasis: the finished product accounts for about 50 ext{%} of the grade; the remaining grade comes from ideation work (sketches, explorations, and process).
Growth mindset: the aim is not to stagnate; invest in ideation, maintain an ideation sketchbook, and demonstrate progressive development across projects.
Ideation methods and personal systems
Brainstorming philosophy: there are no wrong ways to generate ideas during brainstorming; you can sketch in color or pencil, use lists, or start with a word map.
Personal system discovery: identify the method that best stimulates your creativity (drawing, listing, word associations, mind maps, etc.).
Process variability: the class supports exploring different ideation systems until you find one that works for you.
Role of time and discipline: ideation is about quantity and variation, not instant perfection.
Creative approach and collaboration
Emphasis on artistic innovation with no strict constraints during ideation; later stages may impose constraints (e.g., first project is strict about avoiding recognizable iconography).
Collaboration and feedback: multiple professional perspectives help refine the concept; it’s not about choosing the instructor’s idea but integrating useful feedback.
Non-representational vs representational discussion impacts project direction:
Representational (also called objective, figurative, naturalistic): depicts recognizable subjects (e.g., a cat, a heart symbol, a house).
Nonrepresentational (nonobjective, nonfigurative): nonrecognizable objects focusing on abstract forms and patterns.
Abstract: can be highly abstract yet still representational if recognizable cues remain; abstraction is not inherently nonrepresentational.
The first project is designed to push students toward nonrepresentational or loosely representational outcomes; avoid obvious iconography.
Use of symbols and icons: careful balance between pattern/texture and representational cues; questions are encouraged to refine understanding.
Examples and explanations of representational vs nonrepresentational
Heart in a stone: representational because the symbol of a heart reads as a recognizable symbol.
Salvador Dalí piece: representational with surreal subject matter; recognizable elements are embedded in a dream-like composition.
Pollock painting: nonrepresentational; emphasis on motion, rhythm, and texture rather than recognizable subjects.
Tapestry and geometric color fields: nonrepresentational examples focusing on abstraction, pattern, and color relationships.
“On the fence” assessment: some ambiguity between representational and nonrepresentational; consider whether recognizable subject matter can be identified.
Flowers emerging from center: may be representational or border on abstraction; tweaking can push toward nonrepresentational.
Practical advice for approaching the first project and beyond
When in doubt about representational content, ask questions early and seek guidance to land in the intended nonrepresentational zone.
Understand that a balance between pattern, texture, and representational cues can be used to explore the boundary between nonrepresentational and representational.
Remember: all projects aim to communicate effectively to someone else, not just to satisfy personal expression.
Quotes and conceptual takeaways from the included TED-style discussion (summarized)
Emphasis on the ease of communicating ideas with minimal elements; less can be more when the viewer fills the blanks.
The creator’s process involves gradual, non-sexy, slow development of ideas, often triggered by cross-cutting observations rather than a sudden insight.
Empathy is highlighted as a core skill for artists and designers; understanding the reader/viewer’s perspective is essential.
Sunday sketching and an exercise in reading images demonstrate that interpretation by the viewer is as important as the creator’s contribution.
The overarching message: art and design are about guiding perception and interpretation, not only about producing technically perfect images.
Final reflections and preparation tips
Remember the core aim: your work should communicate to an audience; nonrepresentational work requires thoughtful use of elements and principles to provoke interpretation.
Build a robust ideation habit: maintain a dedicated sketchbook, push beyond initial ideas, and document the evolution of concepts.
Develop time-management strategies that prevent late-stage rushes and ensure well-conceived outcomes.
Seek multidisciplinary feedback and use it to inform your decisions rather than letting it derail your design direction.
Be open to changing paths if you discover a different design discipline resonates with you; many students switch majors to better align with their creative strengths.
Note: The instructor emphasizes that following instructions precisely, investing in ideation, and communicating clearly are foundational to success in design courses and professional practice.