Grade 11 Applied Design Seminars - Assignment and Topics
Grade 11 Applied Design Seminars - Assignment and Topics
Grade 11 Applied Design Seminars - Assignment and Topics
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<strong>Grade</strong> <strong>11</strong> <strong>Applied</strong> <strong>Design</strong> <strong>Seminars</strong><br />
In this seminar you will learn about a major designer, a theme or art<br />
period then present your findings to the class.<br />
You will:<br />
Mr. Senisi<br />
● Present a concise, 50 minute overview of the theme/ topic/<br />
time period, in a PowerPoint Presentation<br />
● Focus on the works/designers listed with your topic <strong>and</strong><br />
discuss them in relation to each other. Carefully choose<br />
additional artworks/designs <strong>and</strong> resources to provide a broader<br />
underst<strong>and</strong>ing of the issues.<br />
● Give a summarized h<strong>and</strong>out to the class on your theme/<br />
topic.<br />
● Develop an assignment with your teacher that reflects your<br />
topic <strong>and</strong> demonstrates the influence of what you’ve learned (to<br />
be completed by the class)<br />
Discuss:<br />
● Context (how/why did these designers to what hey did; why did it<br />
happen when <strong>and</strong> where it happened? If your topic is a theme, why<br />
did the designs evolve the way that they did; how does this theme<br />
help us to underst<strong>and</strong> the significance of design?)<br />
● Major Characteristics (How can you tell this approach to design apart<br />
from other styles? What are the specific technical/ thematic/<br />
stylistic/ design/ intellectual/ <strong>and</strong> philosophical similarities that bring<br />
these designers together?)<br />
● Significance; what’s the big deal? Why is the work significant?<br />
● Do NOT waste time with useless facts. i.e. Bob’s mother was a secretary <strong>and</strong> she loved<br />
her son’s art. *If it doesn’t support a point you’re trying to make, leave it out!<br />
● each image that you focus on must be identified with the following information using the<br />
following format:<br />
<strong>Design</strong>er’s Name. Title of work, (object type, manufacturer) city/location date<br />
i.e: Verner Panton. Panton, (chair, for Herman Miller) Denmark 1959-60
<strong>Topics</strong>/Themes:<br />
Seminar Topic List 2010<br />
Mr. Senisi<br />
● William Morris <strong>and</strong> the Arts & Crafts Movement *GROUP OF TWO<br />
● Art Nouveau *Two day presentation GROUP OF FOUR<br />
○ Introduction: “Geometric” vs. “Organic”<br />
■ Margaret MacDonald. The White Rose <strong>and</strong> the Red Rose, Engl<strong>and</strong> 1902<br />
■ Charles Rennie Mackintosh. Argyle Chair (high backed chair for Argyle Street Tea<br />
Rooms) Glasgow 1897<br />
■ Hector Guimard. Subway Entrance, Paris 1900<br />
■ Victor Horta. Interior of the Tassel House (Hôtel Tassel), Brussels 1893<br />
■ Louis Comfort Tiffany. Pond Lily (lamp for Tiffany Studios) New York c.1900<br />
■ Henry van de Velde. Also Sprach Zarathustra (design for book by Friedrich Nietzsche)<br />
Liepzig 1908<br />
■ René Lalique. Sirène (opalescent dish for René Lalique et Cie.) Paris 1920<br />
○ Art Nouveau Poster <strong>Design</strong> <strong>and</strong> Illustration<br />
■ Jules Charet. Papier à cigarettes Job Hors (poster advertisement) Paris 1889<br />
■ Henri de Toulouse Lautrec. La Troupe de Mlle Eglantine (poster) 1895-6<br />
■ Alphonse Mucha. Job (poster advertisement) Paris 1898<br />
■ Aubrey Beardsley. The Peacock Skirt (illustration for Salome by Oscar Wilde) London<br />
1894<br />
● Bauhaus (a design school) *GROUP OF TWO<br />
■ Herbert Bayer. Universal (typeface/font, for the Bauhaus) Dessau, Germany 1925<br />
■ Marcel Breuer. Wassily (chair, for St<strong>and</strong>ard-Möbel <strong>and</strong> Thonet) Dessau, Germany 1925-27<br />
■ Marianne Br<strong>and</strong>t. Ashtray (for the Bauhaus) Weimar, Germany 1924<br />
■ Walter Gropius. Bauhaus (school <strong>and</strong> faculty building) Dessau, Germany 1925-32<br />
● Typography *GROUP OF TWO<br />
■ Nicolas Jenson<br />
■ Claude Garamond<br />
■ William Caslon I<br />
■ Max Miedinger<br />
■ Giambattista Bodoni<br />
■ Eric Gill<br />
● A History of Propag<strong>and</strong>a Posters *GROUP OF TWO<br />
● Women’s Fashion (from 1900) *Two day presentation GROUP OF FOUR<br />
■ Coco Chanel<br />
■ Karl Lagerfeld<br />
■ Yves Saint Laurent<br />
■ Gianni Versace<br />
■ Jean-Paul Gaultier<br />
■ Christian Dior<br />
■ Elsa Schiaparelli<br />
■ Alex<strong>and</strong>er McQueen
■ Christian Lacroix<br />
■ Cristobal Balenciaga<br />
■ Emilio Pucci<br />
■ Hubert de Givenchy<br />
■ Issey Miyake<br />
■ Tom Ford<br />
■ Mariano Fortuny<br />
● International Style *GROUP OF TWO<br />
■ Le Corbusier<br />
■ Ludwig Mies van der Rohe<br />
■ Philip Johnson<br />
■ Harry Bertoia. Diamond Chair (for Knoll International) 1951<br />
■ Charles Eames & Ray Eames<br />
■ Alvar Aalto<br />
■ George Nelson<br />
● Milan *GROUP OF TWO<br />
■ Piero Fornasetti<br />
■ Gio Ponti<br />
● Post-Modernism *GROUP OF TWO<br />
○ Memphis<br />
■ Aless<strong>and</strong>ro Mendini. Proust Armchair (for Studio Alchimia) Milan 1978<br />
■ Ettore Sottsass. Carlton (bookcase, for Memphis) Milan 1981<br />
■ Natalie du Pasquier. Gabon (textile, for Rainbow) Milan 1982<br />
○ Alessi<br />
■ Philippe Stark. Juicy Salif (lemon squeezer for Alessi) Paris 1990-91<br />
■ Aldo Rossi. Il Conico (kettle for Alessi) Italy 1988<br />
● Comics *GROUP OF TWO<br />
■ Will Eisner<br />
■ Bob Kane<br />
■ Gil Kane<br />
■ Jim Lee<br />
■ Todd McFarlane<br />
■ Frank Miller<br />
■ Moebius<br />
■ Alex Ross<br />
■ Osamu Tezuka<br />
● Important <strong>Design</strong> Firms (still active today) *GROUP OF TWO<br />
■ Pentagram<br />
■ Bruce Mau <strong>Design</strong><br />
■ Artemide<br />
■ Chermayeff & Geismar<br />
■ Olivetti<br />
■ Office for Metropolitan Architecture
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