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Founded during 1919 in Weimar, Germany, the Bauhaus was a revolutionary art and design school that integrated various art forms and collaborated with modern industry to radically transform the cult...

This paper discusses two pilot projects in Art and design education at the teacher training at Western Norway University of Applied Sciences. In the second round of drafts for the new curriculum of Art and design digital knowledge is described as stretching from using simple digital resources to master and shape your own digital products. It is no longer limited to two dimensional visual modelling as previously drafted. This is in our view a new approach in a subject where making, tinkering and designing allows for explorations in both 2D and 3D. Given that we want to encourage the use of the digital together with the use of physical materials, the pilot case studies demonstrate the importance of bringing coding and the material aspects of tinkering, making, and creating into play. The BBC Micro:bit was used to make coding and mechanical control part of projects made with traditional material. Further research and development should be undertaken to bring such practices into classrooms in primary and lower secondary schools.

The trend of initiating art design carrying wayang as the theme, is an attempt initiated by young generation that is worth-appreciated. However, the process of at design-making itself mostly does not genuinely pay attention to the essentials that each wayang figure has. Omitting or replacing one of the elements of Wayang Purwa could possibly change the values of wayang itself. This study is conducted to arrange a representative figure of Wayang Purwa, which is, Pandawa gagrak Surakarta as the principle of the design making without excluding the meanings and identities of the character. The method used in this study is qualitative, obtained from various references, such as; books, articles, and journals related to the Pandawa gagrak Surakarta figure, and interview with Bambang Suwarno, as a puppeteer as well as a leather wayang crafter. The result of this research is a reference of the Pandawa Lima and Gatotkaca figures design, as mostly used in various media.

Мета – удосконалення дизайну хустково-шарфових виробів із використанням авторських принтів. Використано системний підхід до обраного об'єкту дослідження, сучасні методи історіографічного, літературно-аналітичного, системно-структурного аналізу, а також методи класифікацій засобів дизайн-проектування хустково-шарфових виробів

This cross-disciplinary course bridging the disciplines of art and chemistry provides an exceptional environment in which first-year students and beyond are engaged and challenged in new ways. This dual lab/studio-based course, titled “Art in the Anthropocene: Greener Art through Greener Chemistry,” enables students to use their imagination, creativity, and innovation to respond to environmental issues and concerns through art. Students are asked to reflect on the nature and implications of the actual physical materials that artists use and to achieve a renewed sense of social and ethical responsibility through the content of their artwork. The curriculum is designed so that teachers guide students on how chemical processes are used to make art materials in an environmentally friendly way. The overall goal is to apply green chemistry principles in the making of artworks that can be crafted with reclaimed, recycled, and naturally available materials, non-toxic solvents and paints, and using sustainable forms of energy while keeping ethical values in mind.

This interesting volume faces simultaneously in two directions. It informs the Australian audience about the precepts of the Bauhaus school of art and design, which flourished in Germany in the 1920s, while at the same time interrogating the development in Australia of a modernist art pedagogy. Rather strangely, given the universal repute and global influence of the Bauhaus, the authors of the book’s Introduction suggest that “the Bauhaus story itself is arguably well known”. The argument is ...

Teaching technical drawing to students of fine arts in 2001 is the beginning of an idea that seeks to integrate various fields of knowledge. Later, life's opportunities lead you to teach artistic matters to architects and engineers. After years of teaching different subjects in different universities, the idea of proposing a new method to integrate art into science and science into art arises. We do not want to teach these ideas separately, but we want to consider them as a whole: art and science can go hand in hand. After years of experience, we can propose a new method where art and science could merge into a single concept. This way of thinking is promoted, following the STEAM approach to learning, creating a scientific journal called ArDln (Art, Design and Engineering - ['a:rdi:n]) and spreading the research carried out during these years. Art, design and engineering must set the basis for a new way of understanding the teaching-learning process. It also must set up a way to face the challenges of the future, facing problems from the rationality of science and the creativity of art. Named after the scientific journal, ArDln becomes the method to involve students in the necessary integration of art and science through a constant dialog and critical thinking. Metaphorically, the method is made of a nucleus where other concepts can connect; it is like a molecule, with its bonds that result in a stable set but that can also grow and evolve. Throughout different educational innovation projects, different professors have worked together not only to promote this particular approach, but also to connect learning experiences to the real world. The project based learning projects proposed, dealing with Design Thinking, have also been an opportunity to deal with the professional world where in the end a recognized professional has evaluated their proposals. More and more we are looking for a method that connects with the professional world, where the student is a spectator as well as an actor in their learning period. We seek for a horizontal learning where teacher and student work together. Educational environments must leave the classical classroom; they must connect in a real way with the external world where at the end of their studies they must move with knowledge as well as with ease. We need to prepare them from the self-assessment as a useful and necessary tool once they leave their studies, understanding the importance of training them in a humanistic environment.

The article presents the analysis of the new book of the famous bibliophile, researcher and populariser of rare books and bibliophilism, the Chairman of the National Union of Bibliophiles M.V. Seslavinsky about the history of creation, specific aspects of publishing and art design of the famous bibliophilic edition “Cantata” by A.A. Sidorov (Moscow, 1921). Comic verses of the future famous bibliologist and art critic, corresponding member of the Academy of Sciences of the USSR became the text for the first edition of the Russian society of the friends of books (1920—1929), the largest Association of booklovers of the 1920s. Two small runs totalled only 20 copies. The study is based primarily on the copies of “Cantata” preserved in the state collections (the Russian State Library, the State Tretyakov Gallery) and private collections, including the M.V. Seslavinsky’s one. The discovery of new documents on the history of the publication allowed restoring the list of owners of the autographed copies. Using the copy-by-copy method, the researcher succeeded in describing the numerous design options of the rarity of bibliophile publishing. The use of art-historical methods allowed to finally establish that the prototype for the image on the engraving “Bibliophile in 1920” (artist N.B. Baklanov, engraver I.N. Pavlov) was A.N. Benoit, the famous painter. The author introduces into circulation the handwritten poetic epistles of A.A. Sidorov to the owners of the autographed copies and other unique materials about preparation for printing, distribution and provenance of “Cantata”. In general, it can be concluded that M.V. Seslavinsky’s approaches to the analysis of “Cantata” can become basic in the study of bibliophile book as a special cultural phenomenon and trend in book publishing.

Review of: Leap into Action: Critical Performative Pedagogies in Art & Design Education, Lee Campbell (ED.) (2020) New York: Peter Lang Publishing, Inc., 290 pp., ISBN-13 978-1-43316-640-2, h/bk, £64.00 (on sale £56.00 on Amazon)

Основной целью высшего образования является обеспечение подготовки высококвалифицированных кадров по всем основным направлениям общественно полезной деятельности в соответствии с потребностями общества и государства, удовлетворение потребностей личности в интеллектуальном, культурном и нравственном развитии, углублении и расширении знаний, умений и навыков. В современной педагогике и эстетике существует неоспоримое мнение о том, что в духовной деятельности индивида, которая базируется на социально-опосредованных субъектно-объектных отношениях и в дальнейшем реорганизуется в личностно-индивидуальные установки объекта, создающего произведение изобразительного искусства, основной составляющей является художественная деятельность. А основой художественной деятельности является любой объект окружающей нас действительности и предметной или духовной среды. Создавая художественное произведение, его автор пользуется общественным и индивидуальным чувственно-эмоциональным опытом, отражая окружающую действительность в форме художественных образов, которые состоят из художественной идеи, художественной оценки и художественных эмоций. Анализируя дизайнерскую деятельность, можно сказать, что основная цель ее состоит в целостном осмыслении и проектировании объектов окружающей среды. На стыке дизайна с производством феномен формы выходит за рамки искусства, приобретая немаловажное значение в производственной жизни общества. В связи с этим знакомство с формой и особое внимание к ней важно при изучении художественно-дизайнерских дисциплин в процессе профессиональной подготовки студентов художественно-проектных специальностей., The main purpose of higher education is to provide training of highly qualified personnel for all basic directions of socially useful activity in accordance with the needs of society and the state, the needs of the individual in intellectual, cultural and moral development, deepening of knowledge, abilities and skills and their expansion. In modern pedagogy and aesthetics there is an undeniable opinion that in spiritual activities of the individual creating a work of art is a major component of an artistic activity. The foundation of artistic activity is considered to be any object of reality and a substantive or spiritual environment. Creating a work of art its author enjoys social and individual emotional experience, reflecting the reality in the form of artistic images, which consist of art ideas, art assessment and the artistic emotions. Analyzing design activity, we can say that its main purpose is a holistic understanding and design of environmental objects. At the intersection of design with the production of the phenomenon of shape is beyond the scope of art, acquiring great importance in the industrial life of society. In this regard, familiarity with the form and special attention to it is important in the study of artistic and design disciplines in the process of professional training of students majoring in art and design.

The cover of John Armitage and Joanne Roberts’ new book Critical Luxury Studies, which shows New York artist Tom Sachs’ 1996 piece Chanel Chainsaw, perfectly captures the spirit of their project th...

The aim of this study is to contribute to the idea of creative design by presenting nail art designs in which neo pop art converges with nail art techniques. For this purpose, this study analysed the artistic worlds of Jean Michel Basquiat and Takashi Murakami as representative artists of neo pop art and used examples of their art as motivation based on Internet data and relevant books. Also this study analysed the concept and expressive techniques used in nail art, and for the nail art techniques of: hand painting, see-through, etching, nail patches, 3D, and airbrushing in order to create six nail art designs using artistic works by three artists as motivation. Based on this, this study presented creative and unique nail designs with artistic works by neo pop artists as motivation. It is hoped that this study will contribute to further use of characteristic and diverse nail designs and is helpful in promoting the capability of nail artists and activate the nail art scene. It is expected that research on nail art design will be expanded and developed through convergence with diverse design areas in the future.

Visual forms of communication are dominant in the digital era. As the visual has increased in influence throughout contemporary culture, art & design slide collections, which would have traditionally helped users make sense of the visual world, have begun to rapidly disappear. How are students of art & design (and beyond) engaging with this visual proliferation now they can no longer rely on the support of the institutional slide collections and their expert staff?

In the coming decades, new technologies will change our lives and the way in which we perceive them in hitherto unimaginable ways.Future Design is acreative collusion of science, technology and art– an experimental laboratory for new art forms and perspectives on the social impact of technologies within Europe.Future Design explores the future of digital technology from atoms to bits and from bits back to atoms again, highlighting the ways in which these technologies are adapted in different cultural contexts. The chief objective is to attract widespread attention to these technologies, to generate debates and interest in their use among independent artists and otherwise under-represented groups.Future Design provides new and critical views on imagination and new insights into reality.In view of the risks and possible collateral damage connected to these new technologies, scientist and artist must make a stand for their values, and do so by openly discussing the potential and risks, and by formulating a vision for the Earth and BEYOND.

Since ancient time till now, the lacquer art was accepted by thousands of households via decoration of curio shelves. Nowadays the lacquer art is merged into people’s daily life, as it can not only decorate our environmental art, but also apply lively lacquer language to beautify people’s vision and actual living space, even represent the essence of Chinese traditional culture furthermore. This paper, based upon physical property of lacquer art that embodies its intrinsic decoration function, introduces the application value of lacquer art used for environment art in fields of the space function classification of lacquer screen to the environmental protection, decoration of lacquer art as well as the inherent aesthetic appreciation interest in detail.

project commissioned by, and fi rst presented at, the 2012 Qalandiya International, as part of the exhibition Gestures in Time, curated by Lara Khaldi and Katya Garcia Anton, held in Jerusalem, Ramallah, and in various venues throughout the West Bank in November 2012. Photography is by Tristan Da Roza. The project could not have been realized without the generous support of Jack Persekian, Director of the Qalandiya International; Jumana Abboud, Tamara Tamimi, and the whole team at Al-Ma’mal Foundation for Contemporary Art; Lara Khaldi and Katya Garcia Anton; Denis Sobeh and Brad Haylock; and Clare Land. Tom Nicholson’s involvement in the Qalandiya International was supported by Monash Art Design and Architecture, where he is a Lecturer in Drawing. The artist pages are courtesy of the artist and Milani Gallery, Brisbane. COMPARATIVE MONUMENT (PALESTINE)

Reseña del libro autobiográfico de Eileen Adams

This paper endeavors to detail the importance of design education and how it helps to prepare students for the challenges that they will face in the design profession. The text is divided into five parts. The three first parts manifest various inherent dilemmas in the area of design: the first deals with the dilemma of the innovation chain, the second studies the conflict between reliability and validity, and the third part tackles the area of creation in design. The fourth topic introduces the necessary path that should be taken to resolve these dilemmas: the educational path. In the fifth section of this paper several examples are presented, which portray design experiences that seek to undertake the dissolution of the schism and emphasize the dialogue between the context and user. This text highlights the need to establish strict correlations between the disciplines of art, design, science, and technology. These areas should not only be contemplated as individual units, but also as a combined organic whole. In contemporary design, cultural transformations are a complex process; with this in mind, the paper reaffirms the belief that responsibility and ethics can help new designers to decide how to and if it is necessary to use constrained social and technical innovations.

The 21st century is the age of culture and sensitivity. As the interest in the art and culture grows, Artygen who prefers artistic designs grow in number. The desire to enjoy life from the increase of leisure time and financial afford ability created a new trend of party culture. This study analyzes the characteristics of Artygen who pursues artistic sense and sensitivity and suggests party-wear designs that please Artygen and accentuate individuality and personal preferences in a party, which is a type of popular entertainment these days. Through literature review, the background of Artygen and party was examined; First, in order to analyze the feature of art designs, photos of products that were in fashion from 2007 to 2009, (during which the term, 'Artygen', was coined) were collected. Second, in order to analyze the party-wear designs, photos of party-wear in wine party and club party popular among young people in the 20~30's were collected. Through the analysis, the party-wears targeting Artygen was developed based on the characteristics of popular art designs. The results of this study were as follows. First, from the result of analyzing the art design shown in product, casual, romantic, modern, dynamic and gorgeous images were. Second, art design shown in fashion, casual, romantic, chic, dynamic and gorgeous images were. Third, in wine party, romantic, elegant, gorgeous and formal images were in order and in club party, casual, gorgeous, chic and romantic images were in order. Fourth, the study displayed design by connecting aesthetic factor of artistic design to 2 wine party-wear of romantic and gorgeous images and 3 club party dresses of casual, gorgeous and chic images.