Saturday, September 15, 2012

Visual Communication and Design
University Semester Course
Multi-Media

Lecturer and Tutor: Marie-Therese Wisniowski

Preamble
This blogspot exhibits many of my students outputs from a variety of workshops. There are one, two and five day workshops as well as workshops that have a different focus. Nevertheless, it always surprises me how much I learn from my students and how enthusiastic they are to learn and so for your convenience, I have listed the workshop posts below.

One and Two Day Disperse Dye Workshops
Various Textile Groups (Australia) 2008 - 2011.

Five Day Workshop - In Pursuit of Complex Cloth
“Wrapt in Rocky” Textile Fibre Forum Conference (Rockhampton, Queensland, Australia) 29th June to 5th July 2008.

Five Day Workshop – In Pursuit of Complex Cloth
Orange Textile Fiber Forum (Orange, NSW, Australia) 19th to 25th April 2009.

5 Day Workshop – In Pursuit of Complex Cloth
Geelong Fiber Forum (Geelong, Victoria, Australia) 27th September to 3rd October 2009.

Two Day Workshop - Deconstructed and Polychromatic Screen-Printing
Beautiful Silks (Melbourne, Victoria, Australia) 20th to 21st March 2010.

Five Day Workshop – Disperse Dye and Transfer Printing
“Wrapt in Rocky” Biennial Textile Forum/Conference Program (Rockhampton, Queensland, Australia) 25th June to 1st July 2010.

Two Day Workshop – Improvisational Screen Printing
ATASDA (Sydney, NSW, Australia) 28th to 29th August 2010.

Two Day Workshop – In Pursuit of Complex Cloth (Day One)
”Stitching and Beyond” Textile Group (Woodbridge, Tasmania, Australia) 2nd to 3rd October 2010.

Two Day Workshop – In Pursuit of Complex Cloth (Day Two)
”Stitching and Beyond” Textile Group (Woodbridge, Tasmania, Australia) 2nd to 3rd October 2010.

Advance Silk Screen Printing
Redcliffe City Art Gallery Redcliffe, Queensland, Australia) 10th April 2011.

One Day Workshop - In Pursuit of Complex Cloth
The Victorian Feltmakers Inc. (Melbourne, Victoria, Australia) 14th May 2011.

One Day Workshop - In Pursuit of Complex Cloth (Felted and Silk Fibers)
Victorian Feltmakers Inc (Melbourne, Victoria, Australia) 15th May 2011.

Five Day Workshop – Disperse Dye and Transfer Printing
SDA (Minneapolis, Minnesota, USA) 13th to 17th June 2011.

Five Day Disperse Dye Master Class – Barbara Scott
Art Quill Studio (Arcadia Vale, NSW, Australia) 15th to 19th August 2011.

Five Day Workshop – Disperse Dye and Transfer Printing
Fiber Arts Australia (Sydney, NSW, Australia) 26th September to 1st October 2011.

One Day Workshop – Improvisational Screen Printing
Newcastle Printmakers Workshop Inc. (Newcastle, NSW, Australia) 5th November 2011.

One Day Workshops – Low Relief Screen-Printing
Various classes within Australia.

Two Day Workshop – Disperse Dye and Transfer Printing
ATASDA (Sydney, NSW, Australia) 23rd to 24th June 2012.

MSDS Demonstration at Zijdelings
(Tilburg, The Netherlands) October, 2012.

Five Day Workshop - Disperse Dye and Transfer Printing
Fibre Arts@Ballarat (Ballarat, Victoria, Australia) 6th to 12th April 2013.

Two Day Workshop - Disperse Dye and Transfer Printing
EFTAG (Tuross Head, NSW, Australia) 13th to 14th April 2013.

Two Day Workshop - Disperse Dye and Transfer Printing
Zijdelings Studio (Tilburg, The Netherlands) 9th to 10th October 2014.

PCA - Celebrating 50 Years in 2016
Art Quill Studio 2016 Workshop Program (Newcastle, Australia).

Image Dreamings: Basic Silk Screen Printing Workshop - Part I
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

Image Dreamings: Basic Silk Screen Printing Workshop - Part II
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

In Pursuit of: Improvisational Screen Printing Workshop
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

In Pursuit of: Low Relief Screen Printing (LRSP) Workshop
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

Art Quill Studio 2017 Workshop Program
2017 Art Quill Studio Workshop Program (Newcastle, Australia).


Introduction
In my earlier career as a successful senior graphic designer, illustrator and art director, I worked for some of the largest international and national advertising agencies, communication companies and government organizations in Australia. Working with, and to, a client’s brief was an essential aspect of the art and design process in tandem with the creative process. With my graphic design and textile art/design background and skills, I was able to inspire my students to critically analyze and demonstrate the relationship of the design inspiration/communication to the historical, cultural or contemporary factors that influenced their design process, within the framework of the client brief and the final artwork or item.

This post covers some of the works created by my students in the Visual Communication and Design course, Design and Technology Teaching Studies, Faculty of Education and Arts, School of Education, The University of Newcastle, Australia - where I have taught as a casual lecturer.
Unfortunately, I can only present a small number of the excellent packaging design and textile design works that my students produced in this post.


Synopsis for Technology Teaching Studies 2
School of Education, Faculty of Education and Arts
The University of Newcastle, Australia.

This course introduces students to the fundamentals of analyzing a design brief and implementing and exploring design solutions. Through a critical analysis of the 7-10 Design & Technology syllabus, students acquire understandings across a range of context areas nominated in the syllabus. Students explore their own design and making skills, then apply these understandings to develop new learning experiences.

Design Project and Presentation:
(a) Knowledge and skills to apply the design process to a design brief through the production of a design task.

(b) Knowledge and skills to identify the cognitive demand of the design brief and locate the project within context of the syllabus outcome levels.


Visual Communication and the Designer
Graphic Design Processes (5 week project - including lectures and workshops).
Content Area: Graphic Design Processes.
Technology Focus Area: Graphics packaging and promotional material.
Design Situation/Brief:

A food company has developed a new food product that, as the marketing manager, you need to package and market in an exciting and innovative way to appeal to a select target group. The company has a sustainable philosophy and historical use of recyclable materials.

The package shape, surfaces, labeling and graphics must: reflect the companies sustainable material philosophy; reflect the market placement and can either take the related form of the product, or it may carry the product in a way that allows the consumer to see it. This packaged product will be on sale at a supermarket.

Mathew Broadbent. ‘Alpha Oil Shaving Oil’ - packaging for the sophisticated man.

Samantha Kopinja. ‘Noodles on the Go’ - take out container (top view).

Samantha Kopinja. ‘Noodles on the Go’ - take out container (side view).

Rick Tomson. ‘Cartoon Characters’ - Easter egg pack and characters information story sheet.

Gerald O’Mahoney. Integrated ‘Nobby’s Nuts’ - container and beer stubby packaging.

Fiona Bogaerts. ‘Flossie’ - tampon packs for young women; based on the geometric, linear quality of art deco imagery and rich metallic color palette.

Belinda Boettcher. ‘Ground’ Fresh Coffee - using hessian and recycled film packaging.

Katherine Bray. “Pure Water Co.’ - bottled water recycled plastic packaging.


Visual Communication and the Designer
Textile Design Processes (6 week project – including lectures and workshops)
Focus: Textiles, Technology, Fashion, ArtDesign
Situation/Brief:

The University is holding its International Student Day. The design and technology students have been requested to supply a range of textile products, which reflect a cultural theme through either human adornment or an item that reflects a cultural theme as interior d├ęcor for an indoor living and relaxation space.

This part of the course is given in the second half of the semester. The practical part of the course introduces students to disperse dyes, pigments, paints, stitching and surface design processes.

Chantal Drummond. Painted, stenciled and printed disperse dyes and pigment on satin. Maori flora and tattoo inspired table runner.

Cherie Borger. Painted, stenciled and printed disperse dyes and pigment on polyester. Native flower table runner and place mats.

Fiona Bogaerts. Painted, stenciled, stitched and printed disperse dyes and pigment on polyester. Pieced and quilted onto tartan cotton backing. The quilt is inspired by the imagery and designs employed in her families traditional celtic quilts heritage.

Daniel Mead. Painted, stenciled, stitched, drawn and printed disperse dyes and pigment on satin. The Indian inspired chef's apron is one of a series of four (section view only).

Daniel Mead. Painted, stenciled, stitched, drawn and printed disperse dyes and pigment on satin. The Indian inspired chef's apron was one of a series of four. A detail view of surface machine stitching.

Gerald O'Mahoney. Painted, stenciled, stitched, drawn and printed disperse dyes and pigment on satin. The wall hanging was inspired by the imagery and designs associated with his Irish heritage.

Mathew Broadbent. Resist, painted, stenciled, drawn and printed disperse dyes and pigment on satin. The wall hanging was inspired by the open spaces and rugged landscape in Southern New South Wales, Australia.

Elizabeth Ritchie (a). MultiSperse Dye Sublimation (MSDS) employing disperse dyes on satin. The Japanese baby Kimono was one of a series of three.

Elizabeth Ritchie (b). Color wash and MSDS employing disperse dyes on satin. The Japanese baby Kimono was the second of a series of three.

Robert Barnard. Painted, stenciled and printed disperse dyes and pigment on satin. The African inspired wall hanging was based on his experiences growing up and living in Africa.

Sharyn Collins. Painted, stenciled, stitched, hand drawing, MSDS and printed disperse dyes and pigment on satin. The multicultural wall hanging signified the influence of her Maori and Australian cultural relationships.

Simone Murray. Painted, stenciled, stitched, embellished, printed and multiple overprints of disperse dyes and pigment on panne velvet and organza layers. The garment was inspired by the luscious colors and textural quality of the pomegranate fruit which hails from Iran, Pakistan and Northern India.

Megan Smith. Individually painted, stenciled, stitched and printed panels employing disperse dyes and pigment. The individual panels were then quilted to a fabric backing and finished with pale blue fabric strips to emulate mosaic tiles. The quilted wall hanging was inspired by Islamic mosaic and tile art and Islamic motifs.

Catherine Golden. Painted, stenciled, stitched and printed disperse dyes on satin. The Japanese Geisha doll was Inspired by the Japanese Bijin, Geisha or beautiful woman costume dolls.

Lyn-Maree Wicks. Painted, stenciled, hand & machine stitched and printed employing fabric paints and painted buttons on polyester, pieced and sewn onto cotton backing. The wall hanging was inspired by aboriginal and contemporary Australian floral iconography.

Katherine Bray. Painted, stenciled, hand printed disperse dyes, hand and machine stitched on polyester. The lampshade was inspired by Australian scribbly gum trees. The lampshade has a prominent feature throughout - scribbles resembling ancient writing which are in fact tunnels made by the larvae of the Ogmograptis scribula moth on the bark of the tree.

3 comments:

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