0 june 2007 “teaching the history of design in an...

Intent/Content history_dms. page �

�0 June 2007 “Teaching the History of Design in an Innovative Manner”

Donna Stepien, Assistant Professor, Graphic Design, New England Institute of Art, Brookline MA

ConTenTs 2 Introduction.

3 Figure1,Introduction.ExcerptfromSyllabus.

4 Example#1:Exercise1,“WritinginPictures.” Figure2.MeggsversusAbrams:Meggs,excerptfromMeggs’ History of Graphic Design

5 Example#1:Exercise1,“WritinginPictures.” Figure3.MeggsversusAbrams:Abrams,excerptfromThe Spell of the Sensuous.

6 Example#1:Exercise1,“WritinginPictures.” Figure4.Exercise#1InstructionstoStudents:Morison,excerptfromSong of Solomon.

7 Example#1:Exercise1,“WritinginPictures.” Figure5.ThefullparagraphfromwhichtheFigure4sentenceistaken.

8 Example#1:Exercise1,“WritinginPictures.” Figure6.Student’spictographicinterpretation.

9 Example#1:Exercise1,“WritinginPictures.” Figure7.Exampleofastudent’sde-coding.

10Example#2:Exercise4,“DifferentDesignPhilosophies.” Figure8.“DifferentDesignPhilosophies”InstructionstoStudents. Figure9.ExamplesfromBodoniandBlake

11Example#3:Exercise5,“FindeSieclePosterDesign.”MeggsversusJobling and Crowley Figure10.Exercise#5:“Fin-de-SieclePosterDesign,”InstructionstoStudents. Figure11,Steinlen,reproducedfromMeggs’ History of Graphic Design 4th Edition.

12Example#4:Figure12,Quiz3,“MapsofTextContent.”

13 Figure13.Quiz3,“MapsofTextContent.” Studentwork,MattBowen.

14Figure14.Quiz3,“MapsofTextContent.” Studentwork,AdamCutler.

15Figure15.Quiz3,“MapsofTextContent.” Studentwork,AmandaGrider.

16Figure16.Quiz3,“MapsofTextContent.” Studentwork,FranHarrington.

17Figure17.Quiz3,“MapsofTextContent.” Studentwork,MikeSabatini.

18Example#5:“Research,Writing,Responding”:ClassPresentationandPoster. Figure19.Instructionstostudents.

19Example#5:“Research,Writing,Responding”:ClassPresentationandPoster. Figure20.Listofreadings.

20Example#6:Exercise8,“TheGuessingGame:WhoamI.”Figure21.ExcerptsfromSyllabus, textbookChapters13,15,16and17withimportantChapterinformationhighlightedinblue.

21Example#6:“TheGuessingGame:Who am I.”Figure22.Exercise8,“WhoamI?” Instructionstostudents.

Intent/Content history_dms. page 2

�0 June 2007 Teaching the History of Design in an Innovative Manner

Donna Stepien, Assistant Professor, Graphic Design, New England Institute of Art, Brookline MA

The History and Analysis of Design is a required one-semester course in a Graphic Design

Bachelor of Science Program. Format is lecture/studio. The class meets three hours, once per

week for �2 weeks. The required text, Meggs’ History of Graphic Design, is chosen by the

department although a professor may augment with additional materials.

I want students to develop their abilities to question what they read and to understand that it is

written from the perspective of the writer. An historical account documented by two authors may

be presented from entirely different perspectives. Meggs book is a very good chronology of the

history of visual communication design, however I believe it presents a timeline which lacks con-

text, critical exploration and experiential material for students. I have developed a bibliography

which offers historical material from different publications and from different authors.

Due to the tight timeframe—�2 three-hour sessions—I find unique ways to present the extensive

amount of material from approximately 40 additional sources to the book. Students contribute

to group exercises, individually assigned readings, individual and team presentations, debates,

hands-on-exploration of concepts, field trip(s) with pointed questions designed to develop look-

ing and listening skills as well as depth and breadth of thinking, ‘who-am-I’ guessing games,

and readings and web sites which offer controversial points of view to the textbook.

I have outlined each chapter in the textbook, with terms, definitions, important dates, names

and works of design referenced to specific pages and figures. By giving the chapter outlines to

students I’ve found that they are less apt to feel overwhelmed with the material in the text, and

more apt to actually read and reference the material to which I hold them accountable.

By specifying exactly what in the text for which the students are responsible, I ‘make room’ and

augment the numerous readings and studio experiences to the text to enrich learning in an his-

torical—and, importatly, critical—context.

Six–eight exercises throughout the Semester offer interpretive experiences of various topics

designed to integrate a range of learning styles. Students work independently, in pairs or in

groups depending on the nature of a specific exercise.

They practice calligraphy to understand hand lettering, ‘rewrite’ sentences in pictographs and

de-code each others’ pictographs to literally experience the difficulty of western culture to under-

stand primitive societies’ glyphs (further, to understand the importance of clarity when producing

logos and icons for their clients in our now-global culture).

They observe and measure books of the medieval period and the Incunabula (via the internet)

and they compare these measurements to Jan Tschichold’s mid-20th century book designs to

understand the history of the continuity of use of certain very specific ratios.

They discuss the power and the ethics of text and image manipulation in advertising, they

observe historical techniques of persuasion and propaganda in advertising by critiquing �00+

slides of �930s magazine ads published and promoted in the US to a vulnerable and largely

immigrant population.


They compare �930s propagandist techniques to the techniques of persuasion offered by mid-

to-late 20th century stock photographs. They view/read and discussing selected controversial

articles from Adbusters, PETA, Bennetton Colors, Mother Jones and Utne Reader.

The course culminates in an end-of-Semester research/poster project. Student pairs read an

article/book excerpt given to them of a specific topic in the history of visual communication,

they work together to research the material, to compare/contrast it to information in the text,

and to present to the class the pertinent value to the history of design in historical context to

political, technological, economic, religious, cultural and societal issues of the time period.

Each student produces a poster to reflect his/her visual interpretation of the specific material of

the topic. Therefore, each student pair works together to obtain and discuss information, and

each student individually presents his/her unique visual perspective of the topic in poster form.

Following is an overview of the course, as presented as a slide presentation during the Intent/

Content breakout session, “Design History”:

Figure1.IntroductiontoCourse,The History and Analysis of Design.

Syllabusexcerpt(AppendixA)providesCourseDescription,Competenciesandrequiredtext.Students’attentionsaredirectedtowardsbluecopydepictingparticularfoci.

Course DesCription

The history and theory of visual communication are presented in this survey course, from pre-written

history through the present with readings from various sources, presentations, field trip(s) and class

discussions.

Social, economic, religious, technological and political climates are addressed as they relate historically

to the design of visual communication. Students will experience concepts through hands-on exercises,

quizzes and a team project.

Course CompetenCies

n To understand visual communication in historical context

n To recognize historical interrelationships of all design disciplines and the relationships of design to

other disciplines

n To recognize design’s history in societies, economics, technology, aesthetics, religion and politics

n To integrate knowledge of design history into the application of design practice

n To develop awareness of needs and uses of design in the global community

n To develop sensitivity to historical dialogue and critical thinking

Books/reaDings

n Meggs’ History of Graphic Design, Fourth Edition, by Philip B. Meggs and Alston Purvis

n Additional readings, class handouts (see attached Bibliography)

the new englandinstitute of art

summer 2006

gD315aHistory

and analysisof Design

instructorDonna Stanton


Figures2–7.Example#1:Exercise1,“WritinginPictures.”

Figure2.MeggsversusAbrams:Meggs.

Excerptpage4,Meggs History of Graphic Design, 4th Ed.

Thistextpresentstheauthor’sviewpointthat“theinventionofwritingbroughtpeoplethelusterofcivilizationandmadeitpossibletopreservehard-wonknowledge….”

Meggsmakesclearattheonsethisopinionthatwritingplaysa—ifnotthe—majorroleinpreserv-ingknowledge.Heoffersnocomparisonorcontrastingview(s).


The hisTory and analysis of design

exercise #1

WriTing in PicTures

“The swooping flight of birds is a kind of cursive script.…today you read these printed words as tribal

hunters once read the tracks of deer, moose, and bear…These letters…across the page…are

hardly different from the footprints of prey left in the snow.

in a…pictographic system, like the egyptian hieroglyphics, stylized images of humans…are…

interspersed with those of plants,…birds,…felines, and other animals.…such pictographic

symbols typically include characters that scholars…call “ideograms.”

—The Spell of the Sensuous (David Abram, 1996), pp 95–98

Abrams discusses the rebus, belief, “bee-leaf” as a pictorial sign “to directly invoke a particular

sound of the human voice, rather than the outward reference to that sound.”…“this inaugurated

the…possibility of a phonetic script (from the greek phonein: “to sound”)…that would…

transcribe the sound of the speaking voice rather than its outward intent or meaning…”


Figure3.MeggsversusAbrams:Abrams,excerptfromThe Spell of the Sensuous.

DavidAbramsuggeststhatourconceptof‘reading’alphabeticlanguageoffersalimitedunder-standingofwhatis‘reading.’Heoffersanon-alphabeticinterpretationofreadinginthedecipher-ingofanimaltracks,or,morebroadly,inthevisualsignsofthenon-humanworld.

ContrastingAbramswithMeggs(Figure2)allowsstudentstofurtherabroaderconceptofwhatis‘reading’toincludemorethanalphabeticsymbols,thustounderstandthevalueinverbalstoriesthatarepassedfromgenerationtogenerationinnon-writing-basedcultures.



exercise #1

WriTing in PicTures

Read the following sentence(s). Based upon your reading about Egyptian hieroglyphics, ‘translate’ the

sentences into hieroglyphics. You may use pictographs, rebus’, phonograms, and you may refer to

pages 4–17 in your text.

Do NOT use any of the characters from any alphabet!!!

Please work independently.

i’d know her ribbon color anywhere but i don’t know her name.”

15


Figure4.Exercise#1InstructionstoStudents.

Exercise#1isdesignedtoprovideunderstandingofvisualinformationthatusespictorialdescriptorsratherthanabstractlettersorcharacters.Theclassisdividedintotwogroups.Eachstudentineachgroupreceivesasheetof8.5"x11"papertheupperhalfprintedwithone–twosentence(s)takenfromaparagraphoftext(here,showninblue,fromToniMorison’sSong of Solomon).Thepieceofpaperiscodedwithanumber,prominentatthetopofthesheet.

AsaclasswereadtheMeggsandAbramstexts(Figures2and3).

Eachstudentisthendirectedasabovetopictoriallyrepresentthesentence,onthebottomhalfofthesheet,andtonumber-codeitwiththenumberthatisatthetop.



exercise #1

WriTing in PicTures

one morning we woke up when the sky was nearly a quarter way across the sky. Bright as

anything. and blue. Blue like the ribbons on my mother’s bonnet.

They looked and saw the sky stretching back behind the houses and the trees.

“That’s the same color as my mama’s ribbons.

i’d know her ribbon color anywhere but i don’t know her name.”

Well, before we could get the sand rubbed out of our eyes and take a good look around, we saw

him sitting there on a stump. right in the sunlight.

We started to call him but he looked on off, like he was lookin at us and not lookin at us at the

same time.

something in his face scared us. it was like looking at a face under water.

Papa got up after a while and moved out of the sun on back into the woods.

—Song of Solomon (Toni Morrison, 1977), pp 42, 43


Figure5.

ThefullparagraphfromwhichtheFigure4sentenceistaken.Eachstudentreceivesone-twosentence(s).PleaserefertoFigures4,6and7.



Figure6.

Student’spictographicinterpretationofthesentence,“I’dknowherribboncoloranywherebutIdon’tknowhername.”

Icollectstudents’completedpictographicinterpretations,cutthebottomhalfofthepaper(thepictographs)fromthetop(theinstructions),andIdistributeonebottomhalftoeachstudentfromthealternategroup(exampleabove).

Studentsareinstructedtode-code,inEnglish,thepictographicsentence.



Figure7.

Astudent’sfairlyaccuratede-coding:“Iwouldnotknowawoman’scolor,butIdonotknowhername”oftheoriginalsentence,“I’dknowherribboncoloranywherebutIdon’tknowhername.”

De-codingaccuracyseemstodependonseveralfactors: 1.theclarityandsimplificationofthedrawings. 2. theproportionofabstracttonon-abstractwordsinthesentence,withabstractwordsbeingdifficulttorepresent pictorially. 3. thenumberofwordsinthesentencethatmayberepresentedwithasimplepictograph,orwitharebus oranideagram. 4. theskilllevelsandeducationalstrengthofboththepictographicinterpreteroftheoriginalsentenceand the“de-coder.”Theaboveexamplewasdecodedbyastudentswhograduatedatthetopofhisclass.

Afterstudentsde-codetheirpictographicsentence,Icollectthesheets,orderthembynumber-codes,andreadthemasacompletetextwhileIprojecttheoriginal textatthefrontoftheroom.

SpiriteddiscussionofenensuesduringwhichwerelateancientEgyptianhieroglyphicstotoday’schallengetocreateglobally-understoodicons.

Studentsgainunderstandingofinterpretationsdifferentfromthoseimposedbywesternculture;theyarebetterabletoapplythisknowledgetotheirmakingofpictorialimageryintheformsofdrawniconsandlogos.

I’d know her ribbon color anywhere but I don’t know her name.”

Intent/Content history_dms. page �0

ExErcisE #4

DiffErEnt DEsign PhilosoPhiEs, samE historical PErioD

Visit thEsE wEb sitEs…

www.octavo.com

— Bodoni’s Manuale Typografico

—Blake’s Songs of Innocence

—print out one or two pages of one or two of the books from this site

http://mitpress.mit.edu/e-books/hP

—‘typography’:

• fonts

• text and image

• technopaegnia

—‘cinematic visual logic’:

• filmic sequences

• double page spreads

• ‘woodcuts’

1. what do these sites have in common?

2. is the information in these sites valuable today? Why or why not? Use information from one or

both sites, and information from your text, readings and class discussions to provide specific examples

to support your response.

3. is the information in these sites useful today? Why or why not? Use information from one or both

sites, and information from your text, readings and class discussions to provide specific examples to

support your response.

Figures8and9.Example#2:Exercise4,“DifferentDesignPhilosophies.”

Studentsareencouragedtonotsimplyreadthetextasachronology,buttoquestionunderwhatcircumstancesadesignermayhavebeenworking,andwhatmayhavebeenofinfluence.

Exercise4:designers’worksaretakenfromthetextbookandcoupledwithquestionswhichforcefurtherexploration.Studentsareguidedfirsttothetextbook,thentowebsiteswhichshowadditonalimagesandprovideadditionalinformation.Studentsarerequiredtoread,research,writeandcollectivelydiscusstheirfindingsandpersonalinterpretations.

Figure8.Exercise#4,“DifferentDesignPhilosophies”InstructionstoStudents.

Figure9.Bodoni,leftandBlake,right(bothimagesreproducedfromMeggs’ History of Graphic Design 4th Edition).

Intent/Content history_dms. page ��

Figures10and11.Example#3:Exercise5,“FindeSieclePosterDesign.”MeggsversusJoblingandCrowley

Anyhistoryistheinterpretationofthewriter.Studentsareshownandaskedtorespondtotwoextraordinarilydifferentinterpretations(Figure10)ofthesameposter(Figure11).Thefirstinterpreta-tionistakenfromthetextbook;thesecondfromGraphic Design Reproduction and Representation Since 1800,“Findesiecleposterdesign:objectifyingnationalstyle,pleasureandgender.”

Studentsareaskedtorespondinwritingtothefollowingquestions:1.LookatMeggs’ History of Graphic Design 4th Edition,p204#11-30[Figure11[).ReadaboutSteinlen’sposter.2.Readp94paragraph2in“Findesiecleposterdesign…”Discussyourideas,observations,opinions.Howcouldtwoauthors‘explain’themeaningofthesameposterinsuchradicallydifferentways?

Aftertheirwritingtheirresponses,andtimepermitting,Imayaskstudentstoformsmallgroupsofthreetofourtodiscussandwritegroupresponses,orImaysimplyconductanall-classgroupdiscus-sion.

Thisexercisealwaysevokesprovacativediscussion;studentsfrequentlyinitiatelivelydiscourse!


exercise #5

fin-de-siecle PosTer design

“.…remarkable tenderness was displayed in a dairy poster illustrating his hungry cats

demnding a share of his daughter colette’s bowl of milk.”

— Meggs’ Histor of Graphic Design, Fourth Edition(Philip B. Meggs, Alston W. Purvis, 2006), pp 203, 205

“…steinlen in his 1894 poster lait Pur stérilisé, where a young girl is seen in the childish pursuit

of drinking milk, whilst three cats, connoting sexual desire, throng at her feet for succour. as

such, they appear to beckon her into a world of adult pleasure in which the consumption of milk

would be supplanted by the partaking of alcohol.”

—Graphic Design Reproduction and Representation Since 1800(Paul Jobling and David Crowley, 1996), p 94

Figure11,Steinlen,reproducedfromMeggs’ History of Graphic Design 4th Edition.

Figure10.Exercise#5:“Fin-de-SieclePosterDesign,”InstructionstoStudents.


The New England Institute of Art

Summer 2006

GD315AHistory

and Analysisof Design

Quiz #3

21 June 2006

Chapters 9, 11

Name___________________________________________________________________________

Recall the exhibition, JourNEyS of THE ImAGINATIoN, that we visited at the Boston Public Library.

Use the map elements of proJEcTIoN, orIENTATIoN, ScAlE AND SymbolS to visually portray

the 19th century concepts, events and people who are featured in cHApTErS 9 AND 11 of your text.

you muST INcluDE from EAcH cHApTEr:

• fIvE pEoplE

• Two coNcEpTS

• THrEE ImporTANT EvENTS

Do all of your work below. You may use pen, pencil, Micron. You may use color.

Figures12–17.Example#4:Quiz3,“MapsofTextContent.”

EachsemesterIteachHistoryandAnalysisofDesigntheclassattendsapertinentexhibition.

Summer2006theclassattendedtheexhibitionJouneys of the Imagination,attheBostonPublicLibrary,showcasingapproximatelyfivecenturiesofmapsandmapmaking.

AllstudentsintheclassareGraphicDesignMajors.HenceIweaveintothecoursewaysofaskingstudentstopresenthistoricalinformationanddataliterallyasavisualcommunicationsolution.

Quiz#3satisfiedmydesiretocoverChapters9and11inthetext,andalsomydesiresto: 1.teststudents’observationsofthemapexhibition. 2. givestudentsawaytoshowtheirunderstandingofthetextmaterial. 3. provideanopportunityforstudentstoproduceapieceofinformationdesign.

FIgures13through18—copiesofquizzes,Summer2006—showsixstudents’responsesasindividualvisualsolutionstoquestionsaboutpertinentmaterialfromChapters9and11.Studentsaremorelikelytoretainlargeamountsofinformationwhentheyareofferedopportunityforpersonalcreativeexpression.Further,theexperienceoflearningismultifoldasstudentsareactually—andinapracticalmanner—practicingtheirdisciplineofstudy!

Figure12.Quiz3.



Figure13.Quiz3,MattBowen.



Figure14.

Quiz#3,AdamCutler.



Figure15.

Quiz3,AmandaGrider.



Figure16.

Quiz3,FranHarrington.



Figure17.

Quiz3,MikeSabatini.


Figures19and20.Example#5:“Research,Writing,Responding”:ClassPresentationandPoster.

Figure19.

Instructionsheet,researchpaperandpresentation.

Assigningthisresearchprojectpermitsmetoincorporateeight–10pertinentreadingsfrombooksorperiodicals.Studentsworkinpairsorteamsofthree,witheachpair/teampresentingtogetherandwitheachteammemberinde-pendentlyproducinghis/herposter.

PleaseseeFigure20forcompletelistingofreadings.

The article that you have been assigned presents historical information pertinent to our study of the History and Analysis of Graphic Design.

Read the aRticle!

• Refer to this semester’s readings, class discussions, exercises and your text as you determine and document in a poster historically significant:

• ideas • discoveries • inventions • philosophies • and/or products presented in the article

• Place your discussion into an historical context (important aspects that affect—or are affected by—the information in your article):

• Society • Culture • Aesthetics • Ethics • Technology

• Include the following as they relate: • Politics • Economics • Propaganda

• Include in your discussion responses to these questions: • who? • when? • where? • why? • similarities among/between? • consistencies/inconsistencies? (i.e. philosophy, practice, use of technology, social or commercial goals)

PresenT To THe clAss An overview of THe ArTicle in PosTer formAT, based on yourdetermination and documentation as described above. Include important highlights from the articleand this semester’s appropriate readings, class discussions, field trips, exercises and textbook.

eAcH TeAm member will ProDuce His/Her own PosTer. The poster must pay visual homage tothe information/designer(s) featured in the article. Each poster must be unique although both teammembers may use the same written information on their respective posters.

• incluDe on THe PosTer: • pertinent written information • a bibliography of ALL REFERENCES, including the article!!!!! (small, at the bottom)

Each team will present their posters and the information to the class.

Aim for a 10-minute presentation per team.

During the presentations, we’ll have an ongoing class discussion.

This project will constitute 20% of your grade for the course and will be graded at the time of yourpresentation according to the following criteria:

Concept 100pts

Research/References 100pts

Presentation 100pts

Craft 50 pts

Technical skill 50 pts

Completeness 50 pts

Effort 50 pts

The new englandinstitute of Art

summer 2006

GD315AHistory

and Analysisof Design

Reading/ReseaRch

7 &12 July 2006


Figures19and20.Example#5:“Research,Writing,Responding”:ClassPresentationandPoster.

Figure20.

Listofreadingsfromavarietyofsourcesthathavebeenassignedforresearchpaperandpresentation.Contentcoversawidehistory.Somereadingscovercontentfoundintheassignedtext,howeverstretch-ingsomewaybeyondthetext(i.e.inbroadercontextorfromadifferentviewpoint).Otherarticlescovervisualcommunicationthatisnotcoveredinthetext(i.e.controversial,orvernacular).

Forcompletereferences,seeBibliographyinSyllabus(AppendixA).

Reading/ReseaRch/PRoject, assigned Readings

•“Modern Hieroglyphics” •“The Meaning of Propaganda” (Looking Right and Left) •“In the empire of signs: ideology, mythology and pleasure in advertising” • from The Art of Persuasion (Introduction) • from “For Love, Modernism or Money” •“Kurt Schwitters and the Circle of New Advertising Designers” • excerpt, “Who’s Afraid of Visual Culture? •“Heartfield in Context” •“US Design in the Service of Commerce” •“Pictures for Rent”

•“summer fun: looking for the zeitgeist in stock photography” •“Stock Imagery as Contemporary Iconography of Race, Class and Culture” •“A Baby and a Coat Hanger: Visual Propaganda in the US Abortion Debate” •“Anti-advertising shows its teeth” •“Invasion of the issue-snatchers” •“Fluid Mechanics: Typographic Culture Now” •“The Myth of Real Time” •“Deconstruction and Graphic Design” •“Understanding Deconstruction: How Do We Know what Anything Means?” •“Nie!” •“Every Picture Tells a Story or Two” •“Some Notes on the Nature of Things” •“Visual Communication: Taking Inventory” •“Crossing the Border: Integrating Communities of Technology and Culture” •“Collectivism in the Decade of Greed: Political Art Coalitions in the 1980s in NYC” •“Dumb”


Chapter13:the influenCe of modern art 15:anew language of form 16: the bauhaus and the newtypography 17:the modern movement in ameriCa

Cubism,futurism,dada,surrealism,suprematism, ConstruCtivism anddestijl

• Discussion: modernist art as advertising: from Graphic Design in the Mechanical Age: “Selling an Idea”

• Marinetti, Carroll, Mallarmé, Apollinaire, Balla, Depero, Ball, Duchamp, Höch, Heartfield, Malevich,

Lissitzky, Berlewi, Rodchenko, van Doesburg, Mondrian, Rietveld, Schwitters, Man Ray

• Read •pp248–top, 262 (excerpts from Chapter 13)

•pp 287–309 (Chapter 15)

•pp310–335 (chapter 16)

•pp 336–352 (Chapter 17)

modernistdesign

• The Bauhaus

• Collage and montage: Hoch, Heartfield, Moholy-Nagy

• Jan Tschichold and die neue typographie

• Beall, Brodovitch, Sutnar, Burtin, Shahn

• Neurath (and the Isotype movement), Beck (topology), Zwart, Matter

• Tschichold, Dwiggins: Classical book design during a period of change and experimentation

Figures21and22.Example#6:“TheGuessingGame”fromMeggs History of Graphic Design 4th EditionChapters13,15,16,17.

Figure21.

ExcerptsfromSyllabus,textbookChapters13,15,16and17.Chaptersareoutlinedtofacilitatereadingandcompre-hensionofkeydates,facts,designersandworks(hereprintedinblue).

SeeAppendicesB–E,outlinesofChapters13,15,16and17respectively.

Studentsareaccountabletoknowthenamesprintedblue.SeeFigure22:Exercise#8whichdescribesthe‘guessinggame’thatstudentsplaytoidentifykeyearly20thcenturyModernists.Igiveaprizetoboththestudentwhoguessesthe‘most’correctanswersandtothestudentwhogivesthe‘best’hints(thusgarneringthemostcumulativecorrectanswers).Otherstudentsreceive‘minor’prizestokeepthegameenergized!

Subsequentsemestersstudentsoftentellmethattheyrememberthisexerciseand—ofimportance—theyremember“whotheywere”AND“whotheycorrectly‘guessed.’

Intent/Content history_dms. page 2�

Fun Class ExErCisE

ChaptErs13, 15, 16, 17

part 1

1. You arE thE pErson whose name you’ve been given.

2. KEEp this namE ConFidEntial. Absolutely do not share this information with your classmates!!!

3.In the space below, writE sEvEn important things about ‘YoursElF.’ Choose important

information from class discussions, notes and handouts. Keep this information confidential.

4.You have 40 minutes to find and write this information.

5. do not rEvEal to anYonE thE sChool or art/dEsign movEmEnt with whiCh You

arE assoCiatEd. do not inCludE this inFormation in thE sEvEn important things

about YoursElF.

PArt 2 wIll be desCrIbed bYYourInstruCtorAfterComPletIon of PArt 1

Figures21and22.Example#6:“TheGuessingGame:Who Am I”fromMeggs History of Graphic Design 4th EditionChapters13,15,16,17.

Figure22.Exercise8,“WhoamI?”

AlsoseeFigure21.Studentshavetoldmethattheyremember“whotheywere”AND“whotheycorrectly‘guessed,’evenafterseveralsemesters(and,hopefully,throughouttheircareers).

Thecompetitivenature,and‘fun’componentsofthisexerciseappeartosuccessfullycontributetoreinforcestudents’learningandretentionofimportanthistoricalmaterial.

0 june 2007 “teaching the history of design in an...

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