Art and Design is a practical course that covers the most important areas of studio practice. It provides the understanding necessary to approach Art and Design in an active way, paying special attention to processes followed by artists, and helping students to discover the tools and the creativity that artists and designers use to explore reality. This course aims to use the everyday environment as a source of material and, being taught in Barcelona, it will take advantage of the vibrant art and design scene in this city.
The syllabus emphasizes individual initiative, imagination and resourcefulness, striking a balance between art and design. As a creative field with no predetermined correct answers to the problems, infinite variations in individual interpretation and application are possible. Hence, it can be tailored to each person’s current abilities and skills. Students must provide their own materials.
Attendance policy:
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
Learning outcomes:
By the end of the course, students are able to:
• Demonstrate the habit of observation and appreciation of what surrounds us, and to reflect their view of reality with plastic/graphic representation tools.
• Narrate and integrate their wealth of experience of Barcelona into their work, by stressing the
ability to plunge into a new culture, and that of self cultivation and personal expressiveness.
• Assess and distinguish the various art forms studied in a comprehensive way.
• Recognize connections between the intrinsic syntax of each technique or artistic language, and their specific field of study, thus enriching their primary professional or academic training.
• Incorporate and develop a more sophisticated and critical approach to their work and that of
others, using intensively the habit of teamwork.
After the project visit to the artist or designer’s studio, students will be required to write in an outline of around two pages plus pertinent images, in their student artist’s journal giving their impressions and how they relate to the students’ own practice. The students will also engage in a practical exercise,
resulting in a creative body of work that might include sketches, drawings, collages and three- dimensional products related to the particular project.
At the end of each project the student artist’s journal will be evaluated together with the creative piece of work.
At the end of the course the student artist’s journal will be graded. Additionally, a complete portfolio including all the student’s creative/practical works will be required and qualified to give the final grade (more detailed information on the contents of this portfolio will be given to students at the beginning of the course)
Homework will be also required, as well as pertinent readings that will provide theoretical and practical support for the different projects. Research activities and exercises between classes will contribute to students’ journals and portfolios.
CLASS METHODOLOGY:
The contents of the course are structured through the development of five projects:
• City
• Body
• Tree
• Mouvement
• Frame
The use of projects creates smaller, meaningful units, which allow us to learn a methodology that can be used for each project. Through the projects we will develop our ability to design, organize, deploy,
implement, document and finalize a proposal through practical exercises relating to techniques, concepts, and attitudes to work. The sessions have time for individual feedback on the students’ work, and always include teamwork activity. The instructor will help the students to dig deeper into their
personal work, in order to develop technical and conceptual skills and at the same time to learn genuine team working skills.
Each project is related to four or five class sessions. In each project unit we will visit the studio of a product designer, a contemporary art curator, or even a specialist in gardens or in art books. The classes are structured around a practical exercise and a dialogue about students’ presentations. For every new concept, there will be an introduction to a related artist, and historical background and pertinent information will be furnished to students to foster class discussion.
content:
Session 1: starting (our art and design diary)
Required Reading: Tharp, Twyla. The Creative Habit. Learn it and use it for Life. Simon & Schuster, 2003
Pages 12 to 28-Chapter 2. Rituals of Preparation. Pages 34 to 49-Chapter 3. Your Creative DNA.
Session 2: CITY: hanging out on the streets as a flânneur
Required Reading: Bayles, David and Orland, Ted. Art and Fear. Observations On the Perils
(and Rewards) of Artmaking. Image Continuum Press, 2001
Pages 1 to 7. The Nature of the Problem. Pages 9 to 21. Art and Fear.
Session 3: CITY: mapping our journey
Required Reading: Bayles, David and Orland, Ted. Art and Fear. Observations On the Perils
(and Rewards) of Artmaking. Image Continuum Press, 2001
Pages 1 to 7. The Nature of the Problem. Pages 9 to 21. Art and Fear.
Pages 23 to 36. Fears about Yourself.
Pages 37 to 47. Fears about Others.
Session 4: CITY: collecting by collage
Required Reading: Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 51 to 65. In Conversation.
Session 5: CITY: using- enjoying the public space
Required Reading: Tharp, Twyla. The Creative Habit. Learn it and use it for Life. Simon & Schuster, 2003
Pages 78 to 90-Chapter 5. Before You Can Think out of the Box, you have to start with a Box.
Pages 92 to 108-Chapter 6. Scratching.
Session 6: BODY: performing by hand
Required Reading: Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 198 to 211. Painting Now.
Session 7: BODY: exploring the near
Required Reading: Flusser, Vilém. The Shape of Things. Reaktion Books, 1999
Pages 17 to 21. About the Word Design. Pages 22 to 29. Form and Material.
Pages 85 to 89. The Non–Thing 1. Pages 90 to 94. The Non-Thing 2.
Session 8: BODY: mirroring by ink
Required Reading: Calvino, Italo. Six memos for the next millennium. Harvard University Press, 1988
Chapter 3. Exactitude.
Session 9: BODY: portraying by clay
Required Reading: Kimmelman, Michael. The Accidental Masterpiece. On Art of Life and Vice Versa. The Penguin Press. 2005
Pages 1 to 7. Introduction.
Pages 175 to 209. The Art of the Pilgrimage.
Session 10: BODY: exploring the yonder and the far
Required Reading: Calvino, Italo. Six memos for the next millennium. Harvard University Press, 1988
Chapter 1. Lightness.
Session 11: TREE: contemplating (as an action)
Required Reading: Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 30 to 34. The Pleasures of Sight.
Session 12: TREE: being plein air
Required Reading: Munari, Bruno. Design as Art. Penguin Books. Modern Classics, 2008
Pages 15 to 23.Preface: The Useless Machines. Pages 25 to 27.Design as Art.
A page 29 to 33.What is a Designer?
Pages 34 to 36.Pure and Applied.
Session 13: TREE: drawing a family tree
Required Reading: Bierut, Michael. Seventy-nine Short Essays on Design. Princeton Architectural Press, 2007
Pages 93 to 95. McSweeney’s No.13 and the Revenge of the Nerds.
Pages 98 to 99. Vladimir Nabokov: Father of Hypertext.
Pages 184 to 187. My Favorite Book is Not About Design (Or Is It?).
Session 14: TREE: learning the shape of a leaf
Required Reading: Orland, Ted. The View from the Studio Door. Image Continuum Press, 2006
Pages 19 to 30. Making Sense of Art.
Session 15: MOUVEMENT: being moved
Required Reading: Sudjic, Deyan. The Language of Things. Penguin Books, 2008
Pages 5 to 9. Introduction. A World Drowning in Objects.
Session 16: MOUVEMENT:changing our point of view
Required Reading: Sudjic, Deyan. The Language of Things. Penguin Books, 2008
Chapter 1. Language.
Session 17: MOUVEMENT: telling from behind and from below
Required Reading: Sudjic, Deyan. The Language of Things. Penguin Books, 2008
Chapter 5. Art.
Session 18: MOUVEMENT: animating a simple history
Required Reading: Kimmelman, Michael. The Accidental Masterpiece. On Art of Life and Vice Versa. The Penguin Press. 2005
Pages 9 to 27. The Art of Making a World.
Session 19: MOUVEMENT: documenting night and day
Required Reading: Orland, Ted. The View from the Studio Door. Image Continuum Press 2006
Pages 7 to 17. Making Sense of the World.
Session 20: FRAME: curating
Required Reading: Kimmelman, Michael. The Accidental Masterpiece. On Art of Life and Vice Versa. The Penguin Press. 2005
Pages 29 to 49. The Art of being Artless.
Session 21: FRAME: summoning-making the flyer
Required Reading: Heller, Steven. Design Disasters: Great Designers, Fabulous Failures & Lessons Learned. Allworth Press, 2008
Pages xix to xxiii. Designing Failure.
Pages 25 to 27. The Power of Leaving Things Half Done. Pages 44 to 49. Failure Is an Occasion for Mixing Metaphors. Pages 92 to 95. Over commitment: A recipe for Failure. Pages 97 to 101. When Things Go Wrong.
Pages 156 to 158. The Art of the Deadline.
Session 22: FRAME: framing-creating our portfolio
Required Reading: Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 21 to 29. Personal Interview.
Session 23: FRAME: exhibiting-launching
Required Reading: Tharp, Twyla. The Creative Habit. Learn it and use it for Life. Simon & Schuster, 2003
Pages 116 to 132-Chapter 7. Accidents Will Happen.
Pages 160 to 173-Chapter 9. Skill.
Pages 210 to 226-Chapter 11. An “A” in Failure.
Session 24: concluding
Final Exam
Required readings:
Students are expected to read the following texts during the semester, and to integrate them into their projects. Also, selected materials available on the Internet will be used, such as appropriate blogs and
websites, graphics and audiovisual stuff.
Bayles, David and Orland, Ted. Art and Fear. Observations On the Perils (and Rewards) of Artmaking.
Image Continuum Press, 2001
Pages 1 to 7. The Nature of the Problem.
Pages 9 to 21. Art and Fear.
Pages 23 to 36. Fears about Yourself.
Pages 37 to 47. Fears about Others.
Bierut, Michael. Seventy-nine Short Essays on Design. Princeton Architectural Press, 2007
Pages 93 to 95. McSweeney’s No.13 and the Revenge of the Nerds.
Pages 98 to 99. Vladimir Nabokov: Father of Hypertext.
Pages 184 to 187. My Favorite Book is Not About Design (Or Is It?).
Calvino, Italo. Six memos for the next millennium. Harvard University Press, 1988
Chapter 1. Lightness.
Chapter 3. Exactitude.
Flusser, Vilém. The Shape of Things. Reaktion Books, 1999
Pages 17 to 21. About the Word Design.
Pages 22 to 29. Form and Material.
Pages 85 to 89. The Non–Thing 1.
Pages 90 to 94. The Non-Thing 2.
Heller, Steven. Design Disasters: Great Designers, Fabulous Failures & Lessons Learned. Allworth Press,
2008
Pages xix to xxiii. Designing Failure.
Pages 25 to 27. The Power of Leaving Things Half Done.
Pages 44 to 49. Failure Is an Occasion for Mixing Metaphors.
Pages 92 to 95. Over commitment: A recipe for Failure.
Pages 97 to 101. When Things Go Wrong.
Pages 156 to 158. The Art of the Deadline.
Kimmelman, Michael. The Accidental Masterpiece. On Art of Life and Vice Versa. The Penguin Press. 2005
Pages 1 to 7. Introduction.
Pages 9 to 27. The Art of Making a World.
Pages 29 to 49. The Art of being Artless.
Pages 175 to 209. The Art of the Pilgrimage.
Munari, Bruno. Design as Art. Penguin Books. Modern Classics, 2008
Pages 15 to 23.Preface: The Useless Machines.
Pages 25 to 27.Design as Art.
A page 29 to 33.What is a Designer?
Pages 34 to 36.Pure and Applied.
Orland, Ted. The View from the Studio Door. Image Continuum Press, 2006
Pages 7 to 17. Making Sense of the World.
Pages 19 to 30. Making Sense of Art.
Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 21 to 29. Personal Interview.
Pages 30 to 34. The Pleasures of Sight.
Pages 51 to 65. In Conversation. Pages
198 to 211. Painting Now.
Sudjic, Deyan. The Language of Things. Penguin Books, 2008
Pages 5 to 9. Introduction. A World Drowning in Objects.
Chapter 1. Language.
Chapter 5. Art.
Tharp, Twyla. The Creative Habit. Learn it and use it for Life. Simon & Schuster, 2003
Pages 12 to 28-Chapter 2. Rituals of Preparation. Pages 34 to 49-Chapter 3. Your Creative DNA.
Pages 78 to 90-Chapter 5. Before You Can Think out of the Box, you have to start with a Box.
Pages 92 to 108-Chapter 6. Scratching.
Pages 116 to 132-Chapter 7. Accidents Will Happen. Pages 160 to 173-Chapter 9. Skill.
Pages 210 to 226-Chapter 11. An “A” in Failure.
Art And Design
Art and Design is a practical course that covers the most important areas of studio practice. It provides the understanding necessary to approach Art and Design in an active way, paying special attention to processes followed by artists, and helping students to discover the tools and the creativity that artists and designers use to explore reality. This course aims to use the everyday environment as a source of material and, being taught in Barcelona, it will take advantage of the vibrant art and design scene in this city.
The syllabus emphasizes individual initiative, imagination and resourcefulness, striking a balance between art and design. As a creative field with no predetermined correct answers to the problems, infinite variations in individual interpretation and application are possible. Hence, it can be tailored to each person’s current abilities and skills. Students must provide their own materials.
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
By the end of the course, students are able to:
• Demonstrate the habit of observation and appreciation of what surrounds us, and to reflect their view of reality with plastic/graphic representation tools.
• Narrate and integrate their wealth of experience of Barcelona into their work, by stressing the
ability to plunge into a new culture, and that of self cultivation and personal expressiveness.
• Assess and distinguish the various art forms studied in a comprehensive way.
• Recognize connections between the intrinsic syntax of each technique or artistic language, and their specific field of study, thus enriching their primary professional or academic training.
• Incorporate and develop a more sophisticated and critical approach to their work and that of
others, using intensively the habit of teamwork.
LANGUAGE OF PRESENTATION: English
Project 1: 15%
Project 2: 15%
Project 3: 15%
Project 4: 15%
Project 5: 15%
Journal: 15%
Class Participation: 10%
After the project visit to the artist or designer’s studio, students will be required to write in an outline of around two pages plus pertinent images, in their student artist’s journal giving their impressions and how they relate to the students’ own practice. The students will also engage in a practical exercise,
resulting in a creative body of work that might include sketches, drawings, collages and three- dimensional products related to the particular project.
At the end of each project the student artist’s journal will be evaluated together with the creative piece of work.
At the end of the course the student artist’s journal will be graded. Additionally, a complete portfolio including all the student’s creative/practical works will be required and qualified to give the final grade (more detailed information on the contents of this portfolio will be given to students at the beginning of the course)
Homework will be also required, as well as pertinent readings that will provide theoretical and practical support for the different projects. Research activities and exercises between classes will contribute to students’ journals and portfolios.
CLASS METHODOLOGY:
The contents of the course are structured through the development of five projects:
• City
• Body
• Tree
• Mouvement
• Frame
The use of projects creates smaller, meaningful units, which allow us to learn a methodology that can be used for each project. Through the projects we will develop our ability to design, organize, deploy,
implement, document and finalize a proposal through practical exercises relating to techniques, concepts, and attitudes to work. The sessions have time for individual feedback on the students’ work, and always include teamwork activity. The instructor will help the students to dig deeper into their
personal work, in order to develop technical and conceptual skills and at the same time to learn genuine team working skills.
Each project is related to four or five class sessions. In each project unit we will visit the studio of a product designer, a contemporary art curator, or even a specialist in gardens or in art books. The classes are structured around a practical exercise and a dialogue about students’ presentations. For every new concept, there will be an introduction to a related artist, and historical background and pertinent information will be furnished to students to foster class discussion.
Session 1: starting (our art and design diary)
Required Reading: Tharp, Twyla. The Creative Habit. Learn it and use it for Life. Simon & Schuster, 2003
Pages 12 to 28-Chapter 2. Rituals of Preparation. Pages 34 to 49-Chapter 3. Your Creative DNA.
Session 2: CITY: hanging out on the streets as a flânneur
Required Reading: Bayles, David and Orland, Ted. Art and Fear. Observations On the Perils
(and Rewards) of Artmaking. Image Continuum Press, 2001
Pages 1 to 7. The Nature of the Problem. Pages 9 to 21. Art and Fear.
Session 3: CITY: mapping our journey
Required Reading: Bayles, David and Orland, Ted. Art and Fear. Observations On the Perils
(and Rewards) of Artmaking. Image Continuum Press, 2001
Pages 1 to 7. The Nature of the Problem. Pages 9 to 21. Art and Fear.
Pages 23 to 36. Fears about Yourself.
Pages 37 to 47. Fears about Others.
Session 4: CITY: collecting by collage
Required Reading: Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 51 to 65. In Conversation.
Session 5: CITY: using- enjoying the public space
Required Reading: Tharp, Twyla. The Creative Habit. Learn it and use it for Life. Simon & Schuster, 2003
Pages 78 to 90-Chapter 5. Before You Can Think out of the Box, you have to start with a Box.
Pages 92 to 108-Chapter 6. Scratching.
Session 6: BODY: performing by hand
Required Reading: Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 198 to 211. Painting Now.
Session 7: BODY: exploring the near
Required Reading: Flusser, Vilém. The Shape of Things. Reaktion Books, 1999
Pages 17 to 21. About the Word Design. Pages 22 to 29. Form and Material.
Pages 85 to 89. The Non–Thing 1. Pages 90 to 94. The Non-Thing 2.
Session 8: BODY: mirroring by ink
Required Reading: Calvino, Italo. Six memos for the next millennium. Harvard University Press, 1988
Chapter 3. Exactitude.
Session 9: BODY: portraying by clay
Required Reading: Kimmelman, Michael. The Accidental Masterpiece. On Art of Life and Vice Versa. The Penguin Press. 2005
Pages 1 to 7. Introduction.
Pages 175 to 209. The Art of the Pilgrimage.
Session 10: BODY: exploring the yonder and the far
Required Reading: Calvino, Italo. Six memos for the next millennium. Harvard University Press, 1988
Chapter 1. Lightness.
Session 11: TREE: contemplating (as an action)
Required Reading: Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 30 to 34. The Pleasures of Sight.
Session 12: TREE: being plein air
Required Reading: Munari, Bruno. Design as Art. Penguin Books. Modern Classics, 2008
Pages 15 to 23.Preface: The Useless Machines. Pages 25 to 27.Design as Art.
A page 29 to 33.What is a Designer?
Pages 34 to 36.Pure and Applied.
Session 13: TREE: drawing a family tree
Required Reading: Bierut, Michael. Seventy-nine Short Essays on Design. Princeton Architectural Press, 2007
Pages 93 to 95. McSweeney’s No.13 and the Revenge of the Nerds.
Pages 98 to 99. Vladimir Nabokov: Father of Hypertext.
Pages 184 to 187. My Favorite Book is Not About Design (Or Is It?).
Session 14: TREE: learning the shape of a leaf
Required Reading: Orland, Ted. The View from the Studio Door. Image Continuum Press, 2006
Pages 19 to 30. Making Sense of Art.
Session 15: MOUVEMENT: being moved
Required Reading: Sudjic, Deyan. The Language of Things. Penguin Books, 2008
Pages 5 to 9. Introduction. A World Drowning in Objects.
Session 16: MOUVEMENT:changing our point of view
Required Reading: Sudjic, Deyan. The Language of Things. Penguin Books, 2008
Chapter 1. Language.
Session 17: MOUVEMENT: telling from behind and from below
Required Reading: Sudjic, Deyan. The Language of Things. Penguin Books, 2008
Chapter 5. Art.
Session 18: MOUVEMENT: animating a simple history
Required Reading: Kimmelman, Michael. The Accidental Masterpiece. On Art of Life and Vice Versa. The Penguin Press. 2005
Pages 9 to 27. The Art of Making a World.
Session 19: MOUVEMENT: documenting night and day
Required Reading: Orland, Ted. The View from the Studio Door. Image Continuum Press 2006
Pages 7 to 17. Making Sense of the World.
Session 20: FRAME: curating
Required Reading: Kimmelman, Michael. The Accidental Masterpiece. On Art of Life and Vice Versa. The Penguin Press. 2005
Pages 29 to 49. The Art of being Artless.
Session 21: FRAME: summoning-making the flyer
Required Reading: Heller, Steven. Design Disasters: Great Designers, Fabulous Failures & Lessons Learned. Allworth Press, 2008
Pages xix to xxiii. Designing Failure.
Pages 25 to 27. The Power of Leaving Things Half Done. Pages 44 to 49. Failure Is an Occasion for Mixing Metaphors. Pages 92 to 95. Over commitment: A recipe for Failure. Pages 97 to 101. When Things Go Wrong.
Pages 156 to 158. The Art of the Deadline.
Session 22: FRAME: framing-creating our portfolio
Required Reading: Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 21 to 29. Personal Interview.
Session 23: FRAME: exhibiting-launching
Required Reading: Tharp, Twyla. The Creative Habit. Learn it and use it for Life. Simon & Schuster, 2003
Pages 116 to 132-Chapter 7. Accidents Will Happen.
Pages 160 to 173-Chapter 9. Skill.
Pages 210 to 226-Chapter 11. An “A” in Failure.
Session 24: concluding
Final Exam
Students are expected to read the following texts during the semester, and to integrate them into their projects. Also, selected materials available on the Internet will be used, such as appropriate blogs and
websites, graphics and audiovisual stuff.
Bayles, David and Orland, Ted. Art and Fear. Observations On the Perils (and Rewards) of Artmaking.
Image Continuum Press, 2001
Pages 1 to 7. The Nature of the Problem.
Pages 9 to 21. Art and Fear.
Pages 23 to 36. Fears about Yourself.
Pages 37 to 47. Fears about Others.
Bierut, Michael. Seventy-nine Short Essays on Design. Princeton Architectural Press, 2007
Pages 93 to 95. McSweeney’s No.13 and the Revenge of the Nerds.
Pages 98 to 99. Vladimir Nabokov: Father of Hypertext.
Pages 184 to 187. My Favorite Book is Not About Design (Or Is It?).
Calvino, Italo. Six memos for the next millennium. Harvard University Press, 1988
Chapter 1. Lightness.
Chapter 3. Exactitude.
Flusser, Vilém. The Shape of Things. Reaktion Books, 1999
Pages 17 to 21. About the Word Design.
Pages 22 to 29. Form and Material.
Pages 85 to 89. The Non–Thing 1.
Pages 90 to 94. The Non-Thing 2.
Heller, Steven. Design Disasters: Great Designers, Fabulous Failures & Lessons Learned. Allworth Press,
2008
Pages xix to xxiii. Designing Failure.
Pages 25 to 27. The Power of Leaving Things Half Done.
Pages 44 to 49. Failure Is an Occasion for Mixing Metaphors.
Pages 92 to 95. Over commitment: A recipe for Failure.
Pages 97 to 101. When Things Go Wrong.
Pages 156 to 158. The Art of the Deadline.
Kimmelman, Michael. The Accidental Masterpiece. On Art of Life and Vice Versa. The Penguin Press. 2005
Pages 1 to 7. Introduction.
Pages 9 to 27. The Art of Making a World.
Pages 29 to 49. The Art of being Artless.
Pages 175 to 209. The Art of the Pilgrimage.
Munari, Bruno. Design as Art. Penguin Books. Modern Classics, 2008
Pages 15 to 23.Preface: The Useless Machines.
Pages 25 to 27.Design as Art.
A page 29 to 33.What is a Designer?
Pages 34 to 36.Pure and Applied.
Orland, Ted. The View from the Studio Door. Image Continuum Press, 2006
Pages 7 to 17. Making Sense of the World.
Pages 19 to 30. Making Sense of Art.
Riley, Bridget. The Eye’s Mind: Bridget Riley. Collected Writings 1965-1999. Thames & Hudson, 1999
Pages 21 to 29. Personal Interview.
Pages 30 to 34. The Pleasures of Sight.
Pages 51 to 65. In Conversation. Pages
198 to 211. Painting Now.
Sudjic, Deyan. The Language of Things. Penguin Books, 2008
Pages 5 to 9. Introduction. A World Drowning in Objects.
Chapter 1. Language.
Chapter 5. Art.
Tharp, Twyla. The Creative Habit. Learn it and use it for Life. Simon & Schuster, 2003
Pages 12 to 28-Chapter 2. Rituals of Preparation. Pages 34 to 49-Chapter 3. Your Creative DNA.
Pages 78 to 90-Chapter 5. Before You Can Think out of the Box, you have to start with a Box.
Pages 92 to 108-Chapter 6. Scratching.
Pages 116 to 132-Chapter 7. Accidents Will Happen. Pages 160 to 173-Chapter 9. Skill.
Pages 210 to 226-Chapter 11. An “A” in Failure.