Embed Size (px)
DESCRIPTION
A Magazine for Anderson University Visual Arts prospective students.
Citation preview
auvisual arts
foundations
auvisual arts
foundations
table of contents
brief bauhaus historythe bauhaus
lazlo moholy-nagy
herbert bayer
jan tschichold
piet zwart
theo van doesburg
joseph albers
bauhaus vs. andersonbauhaus preliminary vs. au foundations
bauhaus wheel vs. anderson wheel
anderson universitydegrees and facilities
1
3
5
7
9
11
13
15
17
19
student workfoundations 105 fall
design problem 1: compositional studies
design problem 2: self identity diptych
design problem 3: contour drawing
design problem 4: art historical sculpture
design problem 5: introduction to color
foundations 106 spring
design problem 1: drawing: value and perspective
design problem 2: fortune telling (value diptych)
design problem 3: color mixing
design problem 4: public sculpture monument
design problem 5: who are you really?
contact information
21
25
29
33
37
41
45
49
53
57
61
So you are interested in Anderson University’s visual arts program? Here at
AU our students experience a program that is unlike any other program in the
country. But before you dive into what Anderson’s art department is all about,
you should first learn about the history and the masters of the greatest school
of art and design that ever existed: the Bauhaus.
After reading about the Bauhaus, you will then be able to understand just how
special AU’s art program is, especially in relation to our Foundations course.
You will see the similarities between AU’s Foundations and the Bauhaus’s
preliminary course. But there is one key difference, which you will learn about
later in this magazine. (Sorry, no spoiler alerts here.)
This magazine features student work from our Foundations course and gives
you a rare opportunity to see a glimpse of projects you will be doing if you decide
Anderson is right for you. For each project, there is a brief description of what
the project is, and how it is similar and different from projects assigned in the
basic course at the Bauhaus. So sit back, grab a coffee, and dig into a rich
history and unique program that you will not be able to find anywhere else in
the country.
about this magazine
brief bauhaus history
The Bauhaus was a school whose approach to design and the combination of fine
art and arts and crafts proved to be a major influence on the development
of graphic design as well as much of 20th century modern art. Founded by Walter
Gropius in Weimar, Germany in 1919, the school moved to Dessau in 1924 and then
was forced to close its doors, under pressure from the Nazi political party, in 1933.
The school favored simplified forms, rationality, functionality and the idea that
mass production could live in harmony with the artistic spirit of individuality.
Along with Gropius, and many other artists and teachers, both Laszlo Moholy-
Nagy and Herbert Bayer made significant contributions to the development of
graphic design. Among its many contributions to the development of design, the
Bauhaus taught typography as part of its curriculum and was instrumental
in the development of sans-serif typography, which they favored for its simplified
geometric forms and as an alternative to the heavily ornate German standard
of blackletter typography.
the bauhaus
On the right is a picture of the Curtain Wall at the Bauhaus.
1
laszlo moholy-nagy
Known for his versatility and the fundamentals of design which he taught his
students, Laszlo replaced Johannes Itten as director of the Bauhaus in 1923.
He experimented in many different fields including photography, typography,
sculpture, painting, industrial design and printmaking. His experimentation
across multiple mediums led to graphic design work characterized by bold
typography in combination with striking photography.
After he resigned from his position at the Bauhaus in 1928 he spent time working
in Berlin as a film and stage designer. In 1937 he moved to Chicago and formed
the New Bauhaus, which is now the Illinois Institute of Technology. The school
shared the same philosophy as the original Bauhaus and caught on quickly.
He chronicled his efforts to establish the curriculum of the school in his book
Vision in Motion.
brief bauhaus history
Lazlo Moholy Nagy, around 1927. The pieces on the opposite page is “Am 7 ” (left), “The Olly and Dolly Sisters“ (top right), and “A-19” (bottom right).
3
herbert bayer
Bayer was both a student and a teacher at the Bauhaus and worked in a wide
range of fields including painting, sculpture, typography, advertising and
architecture. In his early years as a student he studied painting with Kandinsky,
but in just a short while he was teaching one of the Bauhaus’ first classes
on typography. The amount of work that he created before he was 28 was more
notable than most designers entire careers of work. He spent time teaching
at the Bauhaus, working as an Art Director for the Container Corporation and
as an architect in both Germany and America
In between his time at the Bauhaus and his career in America he spent time as the
Art Director of Vogue magazine’s Berlin office. His contributions to the fields
of graphic design, typography and advertising were many. One that should be
noted was his design for a typeface that consisted of entirely lowercase letters.
The German blackletter types were overly ornate for his taste and their use
of capital letter for every proper noun was annoying. Logically, Bayer developed
a sans-serif alphabet of lowercase letters titled “Universal”.
In 1946 Bayer moved to Aspen, Colorado where he spent much of his time
designing local architecture and posters for the local community. In 1959
he designed another sans-serif typeface. Again it was all in lower case, but
he called it “fonetik alfabet” and it contained special characters for the endings
-ed, -ion, -ory and -ing. He is one of the most recognized designers to come
from the Bauhaus institution and his theories of design are still taught in many
schools today.
brief bauhaus history
Above is a picture of Herbert Bayer. The piece on the opposite page on the right has one of Bayer’s many self-portraits. The piece on the left is an example of Bayer’s design work done for the Container Corporation of America.
5
jan tschichold
Tschichold claimed that he was one of the most powerful influences on 20th
century typography. There are few who would attempt to deny that statement.
The son of a sign painter and trained in calligraphy, Tschichold began working
with typography at a very early age. Raised in Germany, he worked closely with
Paul Renner (who designed Futura) and fled to Switzerland during the rise of the
Nazi party. His emphasis on new typography and sans-serif typefaces was
deemed a threat to the cultural heritage of Germany, which traditionally used
Blackletter Typography and the Nazis seized much of his work before he was
able to flee the country.
When Tschichold wrote Die Neue Typographie he set forth rules for standardization
of practices relating to modern type usage. He condemned all typefaces except for
sans-serif types, advocated standardized sizes of paper and set forth guidelines
for establishing a typographic hierarchy when using type in design. While the text
still has many relative uses today, Tschichold eventually returned to a classicist
theory in which centered designs and roman typefaces were favored for blocks
of copy.
He spent part of his career with Penguin Books and while he was there he developed a
standardized practice for creating the covers for all of the books produced by
Penguin. He personally oversaw the development of more than 500 books between
the years 1947-49. Every period of his career has left a lasting impression on how
designers think about and use typography, and it will continue to affect them
into the future.
brief bauhaus history
Above is a picture of Jan Tschichold.
7
piet zwart
A pioneer of modern typography, designer Piet Zwart was influenced by
Constructivism and De Stijl. His influence shows in his work and in this quote: ...to
make beautiful creations for the sake of their aesthetic value will have no
social significance tomorrow.... Zwart worked as a designer, typographer,
photographer and industrial designer in the Netherlands in the 1920s and 30s.
Primarily working for the NKF Company, he created many works of graphic
design before retiring from the company to spend the rest of his days as an interior
and furniture designer.
Also influenced by the Arts and Crafts movement, Zwart began his education
at the School of Applied Arts in 1902. He spent most of his career moonlighting
as an architect and photographer, as well as a designer and for several years
he was very successful. His design career came to a halt when he was arrested
by German soldiers in 1942. He was eventually released after the war, but the
experience affected him drastically. He spent the rest of his life primarily
working in interior design. His excellent use of color, typography, composition
and photography are reminiscent of the Bauhaus and his influence on the future
generations of graphic designers lives on through the Piet Zwart Institute at the
William de Kooning Academy. Piet Zwart is pictured above. On the right is “Series of Monographs on Film Arts, No. 7, American Film Arts” by Piet Zwart.
brief bauhaus history
9
theo van doesburg
Highly influenced by Wassily Kandinsky, van Doesburg shifted his style of painting
from one that emphasized less of a direct reflection of everyday life and one
that placed more importance on a conceptual style that favored a simplistic
geometric style. A Dutch artist, van Doesburg led the artistic style movement
“De Stijl” into popularity and influenced graphic designers for many years to
come with his theories, which conveyed the idea that there was a collective
experience of reality that could be tapped as a medium of communication.
Van Doesburg moved to Weimar, Germany in hopes of impressing the directer of the
Bauhaus, Walter Gropius. Gropius did not directly oppose his ideas, but did not
accept him onto the faculty of the Bauhaus. In reaction to this, Van Doesburg
positioned his studio directly next to the Bahaus and attracted many students
with the ideas he promoted, most of which were developed out of the ideas of
Constructivism, Dadaism and De Stijl.
It was during these times that Van Doesburg formed a tight bond with the artist
Piet Mondrian. And, in 1923, Van Doesburg moved to Paris so that he could
communicate directly with Mondrian. However, the two were very much polar
opposites in character and it resulted in the dissolution of their friendship. It has
been speculated that the breakdown came as a result of a disagreement about
the directions of lines in their paintings. Van Doesburg moved to Switzerland
in 1931, due to his declining health, and it was there that he died, on March 7th.
brief bauhaus history
The piece on the opposite page (left) is “Counter-composition V” and the piece (right) is “Contra-Construction Project.”
11
josef albers
Albers was a student of the Bauhaus in Dessau, Germany and was a practicing
artist in the fields of design, typography, photographer, painter, printmaker
and poet. His most influential work was created in the field of abstract painting
and it showed an influence of both the Bauhaus and the Constructivists with its
simplified geometric shapes. However, he also proved to be very influential to many
other graphic designers and artists as a teacher at the Black Mountain College
in North Carolina from 1933-49 and at Yale University in Connecticut from 1950-58.
His series Homage to the Square is an example of his disciplined approach
to composition and color theory. Towards the end of his career he and his wife
established the Joseph and Anni Albers foundation in an effort to continue
sharing and promoting the theory that he had established during his career. His style
and work represent a bridge between the European art of the Bauhaus and
Constructivists and the new American Art that emerged in the 1950s and 60s. He was
a teacher and an artist his entire career, until his death in 1976 at the age of 88.
Josef Albers pictured above. On the opposite page is Albers’ “Homage to the Square: Gained” done in 1959.
brief bauhaus history
13
The Bauhaus masters developed an innovative teaching program with the creation
of a six-month-long preliminary course or “Vorkurs” by Johannes Itten. Other
professors such as Laszlo Moholy-Nagy, Josef Albers, Paul Klee, and Wassily
Kandinsky are associated with the Bauhaus’s preliminary course. The course
was an introduction to composition, color, materials, and three-dimensional
form that familiarized students with techniques, principles, and formal relationships
considered fundamental to all forms of visual expression. The basic course
developed an abstract visual language that would provide a theoretical and practical
foundation for any artistic endeavor.
Because it was seen as a basis for all further development, the course aimed to strip
away particularities in favor of discovering fundamental truths operating in the
visual world. Every student had to complete this preliminary course before he or she
could enter the workshop of his or her choice (sculpture, metal work, painting,
lettering, etc.). Teachers and students alike worked together as a team. The
Bauhaus put a huge emphasis on experimentation and problem solving, which
became widely influential for the approaches to art education.
bauhaus vs. anderson
the bauhaus: preliminary course
Image of the sun casting a shadow of the Bauhaus sign.
15
the bauhaus: preliminary course
The professors at Anderson University created a Foundations program that rivals that
of the Bauhaus, and is unlike any other foundations program in the country.
It is a two-semester, team taught course—ART 105 and ART 106—in which
students are prepared for work at the upper levels in art and design. Like the
Bauhaus, every student must take Foundations before they take courses
related to their concentration.
Jo Carol Mitchell-Rogers, Nathan Cox, Susan Wooten, and Peter Kaniaris created
the Foundations program Anderson has today after they recognized they were
dissatisfied with how the course was being taught. They gathered in Rainey
Room 149 with white boards, markers, and paper and rethought the way art
fundamentals had traditionally been instructed. They decided to focus on the
students’ needs and created five learning outcomes or goals of Foundations.
Later, the art department adopted the five goals into every course regardless
of concentration. Even senior level courses are structured by these goals. The five
goals are: (1) communication; (2) formal exploration; (3) creative visual problem
solving; (4) exploration of tools, materials, and techniques; (5) investigation of
history, theory, and methodologies.
Like the Bauhaus and other foundations programs, students learn design term-
inology and the practice 2-D and 3-D design, color theory, and drawing/rendering
problems. The difference between Anderson’s Foundations program and that of
the Bauhaus is the incorporation of a conceptual element into projects. Students
do not just create something that looks pretty; there has to be a deeper meaning
and purpose behind it. We have creativity with teeth.
anderson university: foundations 105 and 106
Anderson University’s sign.
bauhaus vs. anderson
the bauhaus
This diagram designed by Walter Gropius in 1922 illustrated the structure of the school curriculum. The outer “Vorlehre” represents the preliminary course. The two middle rings represent the three-year period of workshop training together with form theory. The workshops are identified in terms of their materials; “Holz” (wood) stands for the wood-car ving workshops. Building (“Bau”) was the f inal , highest stage of education.
17
FOU
ND
ATIO
NS
105
FOU
ND
ATION
S 106
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
D
RAW
ING
COLOR THEORY
3-D
2-D
CONCEPT DEV.
GRAPHIC DESIGN
PAI
NTING/
DRAW
ING
CERAMIC
S
ART EDUCATION
DEGREE
the bauhaus anderson university
This diagram illustrates the structure of AU’s art program. The outer ring represents the Foundations course. In foundations, students are intro-duced to the art department’s five learning goals that will follow them throughout the course of their career at Anderson. Within Foundations, students are taught things like color theory and 3-D design. Students are also introduced to concept development, which distinguishes AU from the Bauhaus. After Foundations, students move into their concentrations and then graduate.
anderson university
degrees and facilities
Bachelor of Arts in ArtArt Education (K-12)
Ceramics
Graphic Design
Painting/Drawing
Art MinorsArt
Art History
Rainey Fine Arts CenterDrawing/Printmaking Studio
Painting Studio
Senior Painting Studio
Graphic Design Mac Labs (2)
Photography Darkroom
Sculpture Studio
Ceramics Studio
Art GalleriesVandiver Art Gallery in Thrift Library
Galant Art Gallery in Rainey Fine Arts
19
degrees and facilities
student work: foundations 105
design problem 1: compositional studies
This is the first “problem” or project you will do as a freshman in our Foundations
Program. It is known as “the line project.” You will learn to arrange lines within
various formats (circles, rectangles, squares) in relation to various principles
of design and Gestalt theory. These compositions are to be non-objective or
non-representational. You will use black construction paper and X-acto knives
to cut out the lines and arrange them on the various formats. Craftsmanship
and time management are of the utmost importance in this project.
This project is very similar to a project given in the preliminary course at the
Bauhaus. In Kandinsky’s class, he had his students do “Point and Line to Plane”
exercises. Kandinsky’s assignment focused on creating visually interesting and
balanced compositions, which is what AU’s first design problem is all about.
Compositional line studies that Kandinksy had his students do at the Bauhaus. The project on the right was done by Brinson McGowan.
Gestalt Principles stem from a theory of visual perception that emphasizes the importance of holistic composition. According to this theory, grouping, containment, repetition, proximity, continuity, and closure are essential aspects of visual unity.Non-objective representation is work that portrays no recognizable imagery or subject matter.
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRAWA
ING
COLORTHEORY
3−D
2−D
ON
CEPT DEV.
21
student work: foundations 105
The above piece was done by an un-
known student, the pieces to the right
and on the left of the opposite page
were done by Sarah Leugemors, and
both pieces on the left of the opposite
page were done by Mckenzie Stokes.
(Photographed by Kelly Johnson and
Sarah Leugemors)
student work: foundations 105
design problem 2: self identity diptych
For this problem, you will create a diptych composed to two separate but
conceptually related images. One panel will represent your physical, external
self, and the second will focus on your internal self, which could be spiritual,
emotional, or some other aspect. The first will be a Xerox transfer of a photograph,
and the second will be a Xerox collage. This project also introduces you to the
process of conceptualizing. A strong concept that is not cliché is vital to the success
of this project.
In the preliminary course at the Bauhaus, Moholy-Nagy gave a project where he
taught students the difference between the internal construction of material, its
natural surface, and its artificially prepared surface. The medium for Moholy-Nagy’s
project was photogram. This preliminary Bauhaus project is very similar to AU’s
Design Problem 2; however, AU’s project differs by having a greater conceptual
approach with the incorporation of communicating external and internal characteristics.
Diptychs are composed of two separate, but conceptually and visually related images.Collages are images constructed from visual or verbal fragments initially designed for another purpose.
Photogram done by a Bauhaus preliminary student under Moholy-Nagy. The piece on the opposite page is called the “Promethean” by Brinson McGowan. The piece on the next spread is titled “Forever There” by McKenzie Stokes. (Photographed by Kelly Johnson)
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRAWA
ING
COLORTHEORY
3−D
2−D
CONCEPT DEV.
25
design problem 2: self identity diptych
student work: foundations 105
design problem 3: contour drawing
This problem serves as your introduction to drawing. Drawing is the beginning
of the creative process for many purposes in many art disciplines. This project
is highly representational. You will learn how to draw from direct observation,
and will be assigned various practice-drawing assignments before you are given
the actual problem. By the end of this project, you should be able to show your
ability to look carefully, draw intentionally confident lines, and deliver an accurate
description of the subject.
Design Problem 3 is similar to what was taught in the preliminary course at the
Bauhaus in terms of learning how to draw from observation. This particular
Foundations project is not conceptual.
Drawing exercise done by a pre-liminary student at the Bauhaus. (Photographed by Kelly Johnson) Skull drawing on the r ight by unknown AU student/
Contour lines are lines that describe the edges of a form and suggest three-dimensional volume. The student artist of the piece on the opposite page is unknown. Representational shapes are derived from specific subject matter and are strongly based on visual observation.
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRA
WIN
G
COLORTHEORY
3−D
2−D
ON
CEPT DEV.
29
design problem 3: contour drawing
student work: foundations 105
On the right a close up of Iina Kobayashi’s drawing, Opposite isher full-scale piece.
student work: foundations 105
design problem 4: art historical inspiration sculpture
This problem is the only three-dimensional project you will have in the Fall
Foundations course. For this problem, you will select a non-objective painter
from art history, and use his or her two-dimensional work as inspiration for your
three-dimensional sculpture. You will have to closely observe the elements and
principles utilized in the painting to figure out how to incorporate those elements
and principles into your sculpture.
Design Problem 4 is very similar to projects that were given in the preliminary
course at the Bauhaus. For one project at the Bauhaus, Itten had his students
explore the different textures with different materials. Design Problem 4 also
requires students to carefully choose the materials they use in this project. Another
project at the Bauhaus required the students to create a three-dimensional sculpture
that was inspired by a two-dimensional object. For AU’s project, students do just
that except the inspiration must come from an art historical piece.
The project of a Bauhaus preliminary student who created a 3-D cradle that was inspired by a 2-D baby blanket. On the opposite page, the image on the left is the AU student sculpture by Lindsey Gerlock. She was inspired by “Arrest 2” by Bridget Riley, which is on the bottom right. The image above that is a close-up of Gerlock’s sculpture. (Sculpture photos by Kelly Johnson)
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRAWA
ING
COLORTHEORY
3−D
2−D
CONCEPT DEV.
33
design problem 4: art historical inspiration sculpture
student work: foundations 105
Pictured is an art historical piece by Josef Albers which was the inspiration for Nicole Standridge’s sculpture (right). (Photo on right by Kelly Johnson)
student work: foundations 105
design problem 5: introduction to color
This is the final problem you will complete for Foundations 105. It deals with the
most complex and powerful element of art: color. This problem requires you
to solve six visual problems in relation to color, which range from purely formal
to conceptual. You will learn and practice the different aspects of color. The first
composition relates to the relationship of value as a component of color. The
second examines the different color schemes, and the last composition should
illustrate the expressive potential of color and composition to convey content.
The final composition incorporates a conceptual element.
Design Problem 5 is very similar to projects done in the preliminary course
at the Bauhaus. The Bauhaus focused heavily on color theory and had their
students do various color studies. The difference is that AU’s project includes
a conceptual component. Students do not just create color studies; they are
also asked to examine the expressive potential of color.
The image above is a color study done by a student at the Bauhaus in the Preliminary course. The pieces on the opposite page are conceptual color studies by AU students. The left piece was done by Joy Hiller and conveys “isolation.” The composition below conveys “frenzy” and was done by Hayden Oliver. The color studies on the next page were done by Ellie Youngs.
Value is the relative lightness or darkness of a surface.
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRA
WIN
G
3−D
2−D
CONCEPT DEV.
COLOR THEORY
37
design problem 5: introduction to color
student work: foundations 106
design problem 1: drawing: value and perspective
This marks the first problem of the spring semester of Foundations. For this
problem, you will draw from a still life that consists of both boxes and fruit. You select
an area of the constructed still life in order to create an interesting composition.
The composition and your rendering should communicate an illusion of form
and space on the flat surface of the drawing paper. This project should be highly
representational. In order to achieve this, you will have to pay close attention
to perspective cues, values, and the relative size and shape of the objects in relation
to one another.
This design problem does not include concept development. It is similar to drawing
projects taught in the basic course at the Bauhaus and any introductory drawing
course. Design problem 1 simply teaches you how to draw using perspective and
translating value.
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRA
WIN
G
−D
2−D
ON
CEPT DEV.
COLORTHEORY
41
Above is a drawing by a student in Itten’s preliminary course at the Bauhaus. The drawing on the right was done by Iina Kobayashi.
Perspective is a form of geometric perspective in which parallel lines are represented as converging in order to give the illusion of depth and distance.
design problem 1: drawing: value and perspective
student work: foundations 106
On the left is a piece done by Emily Heinz. The piece on the opposite page drawn by Hayden Oliver.
student work: foundations 106
design problem 2: fortune telling (value diptych)
This project combines the drawing skills learned in the previous project as well
as the concept forming skills learned in other projects. This problem requires
the creation of a diptych (like Problem 2 in 105). The first panel will be a rendering
from direct observation of a fortune cookie, and the second panel will illustrate
your symbolic interpretation of the fortune found within the cookie. Like the diptych
in 105, this project is heavily conceptual. You will need to find an original and
creative visual interpretation of your fortune.
Design Problem 2 is unlike any project given in the preliminary course at the Bauhaus.
It takes the drawing skills learned in the fruit and boxes project and pushes
them a step further by adding a conceptual element. It is similar to the Bauhaus
in that it helps refine technical drawing skills, but it is different in terms of
concept development.
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRA
WIN
G
−D
2−D
CONCEPT DEV.
OLORTHEORY
45
Pictured on the opposite page is a project by Railey Collins (with detail). The work on the next page was done by Hayden Oliver.
design problem 2: fortune telling (value diptych)
student work: foundations 106
design problem 3: color mixing
For this problem, you will deal with the optical, not physical, mixing of color. It stems
from artists like Seurat and Signac who are known for their pointillist work.
This problem is usually a favorite among those who want to become graphic
designers. It requires the mixing the colors cyan, magenta, yellow, and black
(CMYK). These are the four colors of ink that are used in the printing process.
Along with figuring out how to mix these four colors to get a wide range of colors,
you will have to select, modify, and combine at least two black and white
photographic images. With these images, you will create a completely new
composition. The combination of these two images should be highly conceptual.
From these images, you will translate the value in the photographs to the value
in color. The color palette you choose to use with these images must also relate
back to your concept.
This problem is different from any project assigned in the basic course at the Bauhaus.
It is synonymous in terms of learning about coloring mixing, but the medium
and conceptual approach is dissimilar. Design Problem 3 is done in Prismacolor
marker while Bauhaus preliminary color studies were done in gouache paint.
The piece on the right was done by Joy Hiller.
Pointillism is the juxtaposition of small dots of pure color on the canvas that are then optically mixed by the human eye and brain. From up close, it is difficult to distinguish anything except the individual dots of color. Only from a distance does the eye “mix” the color so that the brain perceives a single hue.Medium refers to the substance the artist uses to create his or her artwork
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRAWA
ING
3−D
2−D
CONCEPT DEV.
COLOR THEORY
49
design problem 3: color mixing
student work: foundations 106
Close ups from left to right are by Sarah Leugemors, Heather Burton, Iina Kobayashi, and Brinnan Wimberly.
student work: foundations 106
design problem 4: public sculpture monument
This problem requires that you take two-dimensional foam board to construct
an abstracted or non-objective three-dimensional form. You will create a three-
dimensional model of a public sculpture monument that would hypothetically be
built in a larger size. Along with the challenge of working with foam board, you
will need to have a strong concept behind the purpose of your monument.
The public sculpture monument project holds a strong parallel to a project given in
the basic course at the Bauhaus. At the Bauhaus, students were asked to
transform two-dimensional paper into a three-dimensional sculpture. At
Anderson, students take flat foam core and create a sculpture from it, but
Anderson’s project is different from the Bauhaus’s. Design Problem 4 requires
the students to come up with a concept for what they are making; they are not
just making something visually interesting. They are creating something that
has meaning and serves a purpose.
Above is a project that was done in the preliminary course at the Bauhaus. The sculpture on the right, by Joy Hiller, is a monument advocating the envrionmental fight against toxic industrial materials.
Abstract form is a form derived from visual reality that has been distilled or transformed, reducing its resemblance to the original source.
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRAWA
ING
3−D
2−D
CONCEPT DEV.
COLORTHEORY
53
design problem 4: public sculpture monument
student work: foundations 106
Brinson McGowan created this momument model about the Chernobyl nuclear reactor explosion. Photos by Brinson McGowan.
student work: foundations 106
design problem 5: who are you really?
This is the last problem in the Foundations program. With this problem, you will
create a self-portrait, which have been done throughout the history of art. Here, you
will create an abstracted self-portrait using gouache paint that communicates
an aspect of your personality that could not be captured with a photograph. You will
also use color to express the aspect of your personality you wish to convey.
Every design decision you make must be thoroughly though out; this is another
conceptual problem.
Leading up to the self-portrait you will be given the opportunity to experiment
with the gouache paint. You can only use red, blue, yellow, white and black paint.
Any colors that you want to use must be mixed using those colors. You will create
a color wheel, value study, and intensity study with gouache before you begin
your self-portrait.
The assignments leading up to the self-portrait of this project are almost identical
to projects given in the basic course at the Bauhaus. Bauhaus students also
completed color wheels, value studies, and intensity studies with gouache paint.
Anderson takes those color mixing studies a step further and asks students
to use color to convey something about themselves; thus, AU requires the application
of concept with color.Above is a color wheel that was done by a student in the Preliminary course at the Bauhaus. The piece on the right was done by AU’s Brinson McGowan.
Intensity is the purity, saturation, or chroma of a color. For example, fire engine red is a high-intensity color.
GOAL 1
GOAL 5
GO
AL 2
GOAL 3
G
OAL
4
DRA
WIN
G
3−D
2−D
CONCEPT DEV.
COLOR THEORY
57
design problem 5: who are you really?
student work: foundations 106 spring
Annie Churdar’s piece is above. The piece on the right was done by Hayden Oliver. On the oppsoite page, the image on the left is by Ashley Shannon titled “En las profundidades del oceano.” The piece to the far right is by Iina Kobayashi titled “Climbing Art.”
art faculty
contact information
Jo Carol Mitchell-Rogers, ChairMFA, Clemson University
PhD, University of Georgia
Art Education, Drawing, Foundations
Nathan Cox, Associate DeanMFA, Bradley University
Ceramics, Foundations
Peter KaniarisMFA, University of Houston
Painting, Drawing
Jane DornBFA, Louisiana State University
Graphic Design
Tim SpeakerMFA, University of Wisconsin-Madison
Graphic Design
Polly GaillardMFA, Vermont College of the Arts
Photography
Clarissa P. BrandãoMFA, Georgia State University
Graphic Design, Foundations
Candace WeddleMA, Tulane Univeristy
PhD, University of Southern California
Art History
61
contact information
credits
Hannah IsennockCover Design
Layout Design
Herbert Bayer
Jan Tschichold
Foundations 106 Research
AU Curriculum Wheel Design
106 Design Problems 2-3
Sarah LeugemorsCover Design
Layout Design
Typesetting
About This Magazine
Piet Zwart
Josef Albers
Bauhaus vs. Anderson University
Bauhaus Preliminary Body Copy
AU Foundations Body Copy
Degrees and Facilities
Design Problems Body Copy
105 Design Problems 4-5
106 Design Problem 1
Faculty Contact Information
Ashley ReadlerCover Design
Layout Design
The Bauhaus
Theo van Doesburg
Lazlo Moholy-Nagy
105 Design Problems 1-3
Body Copy Editor
Bessie LoveCover Design
Layout Design
Table of Contents
Foundations 105 Research
Student Work Photographer
106 Design Problems 4-5
Sources
Special Thanks
Page Numbers
credits sources
websiteshttp://bauhaus-online.de/en/atlas/das-bauhaus/lehre
http://www.thecityreview.com/bauhaus.html
http://www.olivertomas.com/information-design/a-selection-of-graphics-
from-bauhaus-publications/
http://www.arch.ttu.edu/people/faculty/Neiman_B/pedagogical/
poeticsfa08/03.00.2_kandinskyarticle.pdf
http://www.designishistory.com/
http://www.slideshare.net/rogerpitiot/bauhaus-2007
http://www.ariehsharon.org/BauhausDessau/The-Vorkurs/16368658_
hfdJh2#!i=1233459479&k=c7LPgHc
http://www.theartstory.org/movement-bauhaus.htm
http://www.das-bauhaus-kommt.de/en/ausstellung
booksDroste, Magdalena. Bauhaus. Köln: Taschen, 1998. Print.
Fiedler, Jeannine, Peter Feierabend, and Ute Ackermann. Bauhaus. Cologne:
Könemann, 2000. Print.
special thanks
Tim Speaker for overseeing the production of this magazine.
Jo Carol Mitchell-Rogers for explaining Foundations’ story.
Nathan Cox for providing all the Foundations paper work.
Jane Dorn for giving valuable suggestions and feedback. Kelly Johnson for providing pictures of student work.
Anderson University art students for providing the artwork.
special thanks
Non-Profit Org.US Postage
PAIDPermit 306
Greenville, SC29607316 Boulevard
Anderson, SC 29621admission@andersonuniversity.eduwww.andersonuniversity.edu800-542-3594
![ON THE FOUNDATIONS OF QUASIGROUPS · 1957] ON THE FOUNDATIONS OF QUASIGROUPS 231 Or equivalently c = auay implies c = uy. This is simply the identity (5.3) au-ay = uy. Thus, the identity](https://img.pdfslide.us/doc/110x75/5e560e9e41fe8954a32f9160/on-the-foundations-of-1957-on-the-foundations-of-quasigroups-231-or-equivalently.jpg)
