Cactus Jack Foundation+Parsons Academy Present: The Young Creator's Sketchbook

Cactus Jack Foundation + Parsons Academy Present:

©All Rights Reserved. The New School

# C AC T U S JAC K + PA R S ONS

2

©All Rights Reserved. The New School

Cactus Jack Foundation + Parsons Academy Present:

THE YOUNG CREATOR’S SKETCHBOOK Design is Collaborative # C AC T U S JAC K + PA R S ONS

Over an artist’s or designer’s career, they will work and interact with hundreds of people to help bring their ideas to life. As their creative network widens, they will collaborate with other artists and designers, strategists, manufacturers, creative agencies, publicists, influencers, editors, critics, buyers, and ultimately a captivated audience of followers and clients. Without collaboration, design cannot reach the hands, hearts, and minds of the people it serves.

This sketchbook is a collaboration. It brings the design expertise of The New School’s Parsons School of Design and Parsons Academy, the vision of The Cactus Jack Foundation, the dedication of the City of Houston, and the resources of My Brother’s Keeper Houston together for young artists, no matter who they are or where they’re from.

It’s designed to deepen your artistic knowledge, challenge you, broaden the way you think about art, design, style, and inspire you to take your passions to the next level.

Are you ready? #CACTUSJACK+PARSONS Follow our collaborations on Instagram: @parsonsschoolofdesign @parsonsacademy @cactusjackfoundation @houston And My Brother’s Keeper Houston on Facebook: @houstonhealthFD

©All Rights Reserved. The New School

3

TABLE OF CONTENTS

CONTENTS 5 Students and Teachers: Get Ready to Make 6 Geoffry Gertz Fashion Drawing & Concept Collages 8

Object As Narrative

10

Insta-Media Collage

32 Scherezade‌ ‌Garcia‌ 2D and 3D Art Forms 34

Metamorphosis: 2D to 3D Art Forms

36

It’s Showtime: Design a Miniature Stage

38 Bryan Melillo Avatars & Mask Making 40

Self(ie) as Avatar

42

Mask Making to Transform and Empower

# C AC T U S JAC K + PA R S ONS

12 Kamal Badhey Digital Photography & Art Installations 14

Portraiture: Photographing Beauty in Our Lives

16

Art Installation: Heritage and Memories

46 Gigi Polo Branding Graphics & Storyboard Zines 48

Self and Social Identity: A Personal Brand

50

Daily Rituals: Zines in Action

18 Dianne Hebbert 3D Art in Environment & Printmaking 20

Art in Odd Places: Scale and Juxtaposition of Placement

22

Creating Multiples: Kitchen Litho

52 Ian Gordon Interior Space & Architectural Forms 54

Enveloping Space: Exploring Interior Space

56

Vertical Living: Exploring Vertical Building Types

26 Pamela Shepard-Hill Fashion Inspiration & Fashion Styling

4

©All Rights Reserved. The New School

28

Virtual Photoshoot

30

Eyes Open Walk

58 Troy Hul Arnold Fashion Making & Upcycled Fashion 62

Upcycled Accessories: Coveted Objects

64

Fashion Reimagined: Repurpose to Create

STUDENTS AND TEACHERS: GET READY TO MAKE The Young Creator’s Sketchbook is a curated collection of introductory and thought-provoking art and design project prompts and activities created by Parsons School of Design faculty for pre-college and college students and those who teach them. Parsons supports the creative growth and development of students of all ages across a variety of art and design disciplines.

In designing these projects, Parsons faculty keep true to the school’s teaching philosophy, asking students to consider themes of self-expression, social justice, and meaningful global issues as they create.

Young creatives all over the world will be working on these projects alongside you! Share your art and designs on social media using the hashtag #CACTUSJACK+PARSONS so we can see one another’s creative processes, learn from one another, and offer encouragement.

CHRIS MUSCI Director of Art & Design Summer Intensives and Pre-College Programs

# C AC T U S JAC K + PA R S ONS

The pages in this sketchbook are full of information, ideas, and resources to boost your creative process, either on your own or with a class. The nine Parsons faculty contributors are a talented group of artists and designers who have shared 18 unique projects featuring their own work. We’ve included bios for each contributor, so you can read about their different creative experiences.

recommend that you document the project by taking photos of your creative process and finished pieces.

You can use these photos in the future as you build your portfolio and reflect on your creative growth and journey.

ALEX BENNETT Director of Global Pre-College Programs

The various projects will introduce you to different areas of art and design, including fashion, photography, graphic design, architecture, applied arts, and fine arts. Before starting an exercise, you’ll want to read the “What You Will Learn’’ points, as these will help prepare you for the making experience.

You’ll also want to check out the materials list and try to gather as many of the required materials and tools, or variations based on availability. Set up your workspace with your tools and supplies. Then read the project description carefully, which has a suggested plan and key instructions to follow. For any supplies or tools with instructions, be sure to read the “how to use” and safety instructions.

Before or after working on a project, take a look at the “Get Inspired” section, which includes a list of people, objects, and ideas that you can explore for inspiration or further ideas. You might look these keywords up online or search for them in a local library.

Once you’ve finished an exercise, you can journal about the experience, including what you learned, found surprising, or still have questions on. We ©All Rights Reserved. The New School

5

# C AC T U S JAC K + PA R S ONS ©All ©AllReserved.

Rights Reserved.

The NewThe School New School 6 Rights

Object As Narrative

Geoffry Gertz is a designer, artist, educator, and creative enthusiast working in the fashion industry for 25+ years. His career in fashion design has spanned diverse design markets from international brands such as Perry Ellis, Issey Miyake, and JOOP!; to large-scale fast fashion for Limited Brands; and the celebrity influence as the Creative Director for Hilary Duff. Gertz’s fashion has been featured in Vogue, Harper’s Bazaar, Elle, Marie Claire, Lucky, The New York Times, New York Magazine, Village Voice, and Women’s Wear Daily.

Geoffry is a Part-time Assistant Professor at Parsons School of Design teaching design, illustration, graphics, and portfolio development. Gertz uses a hybrid approach of analog and digital methods to rapidly explore ideas while empowering new modes of expression. He emphasizes experimentation, observation, spontaneity, and energy bubbling up from studio practice, making connections between mark, line, and gesture. www.geoffrygertz.com

©All Rights Reserved. The New School

7

# C AC T U S JAC K + PA R S ONS

I’ve had this hoodie for years, which has gotten literal wear and tear, symbolic of my running journey. I started putting in the miles training in cold weather, and I loved wearing this fleecelined fitted black silhouette accented with high vis orange.

The hoodie design gives me the energy, warmth, and style to compete and finish my races.

GEOFFRY GERTZ

01

AS NARRATIVE

# C AC T U S JAC K + PA R S ONS

OBJECT

GE OF F RY GE R T Z —

WHAT YOU WILL LEARN Understanding of how objects that we wear, use, or collect become avatars of ourselves Sharpened observational skills through illustration Awareness of how memories from personal objects are catalysts for creative projects

Personal objects and the clothes that we wear create portals into our identities and narratives. Objects, either worn, used, or collected become our avatars - or representations of ourselves. Studying an object of significance that has meaning may give insight into your creative identity.

American painter Jim Dine has devoted a notable amount of his creative work to interpreting the bathrobe as his avatar. Dine recognized the robe as a symbol of himself and a stand-in for his image. For over five decades, Jim Dine has iterated a multitude of versions of the iconic robe in a wide range of media expressing his identity.

Choose an article of clothing or an accessory that represents you and create an illustrative study.

The garment or worn object must be tangible and available for you to observe for representational studies.

Research the garment or design object’s materiality and where it was made and by whom as a starting point

8

©All Rights Reserved. The New School

Fashion Drawing & Concept Collages

The finished sketch may be left as the illustration or can be further developed using a collage method that places the garment or object in a scene exploring the narrative. Think about a time, environment, or situation that the garment or object is associated with that may depict the story. As the art is being completed, reflect upon memories and details that may have gone unnoticed, and explore how this object study has become a symbol of you.

# C AC T U S JAC K + PA R S ONS

for narrative development. Begin with quick loose studies in a drawing medium that is comfortable for you.

Position and pose the garment or object in a few variations. If you keep a sketchbook, include this study in the book. Select the view that is most expressive and create the composition.

Based on your artistic experience, the object study can be interpreted in pencil, pen, marker, or paint.

Materials

Create

— A significant garment, accessory, or object to study and illustrate

— An illustrated object study of significance that is representative of you

— Drawing media that you have experience with such as pencil, pen, marker, or paint

— Reflection of how the illustration triggers personal memories and reveals details gone unnoticed

— Paper suitable for the selected drawing media

— Greater definition of your aesthetic that may direct future art or designs

— Images if applicable to assemble the drawing into a collage that gives more meaning to the illustration

Get Inspired — Jim Dine Robes

©All Rights Reserved. The New School

9

COLLAGE

# C AC T U S JAC K + PA R S ONS

INSTA-MEDIA

GE OF F RY GE R T Z —

10

©All Rights Reserved. The New School

WHAT YOU WILL LEARN Learn about the art of collage as a spontaneous playful creative practice Recycle everyday materials into works of art Reflect upon how artistic studies may inspire future projects

Creative play is an essential part of the artistic process and practice. Known to celebrate overlooked everyday materials, collage is a fluid and experimental process. Using media that you already have, playfully combine the materials into a collage. Your available materials may be magazines and newspapers, the daily mail, discarded packaging, fabric samples from unwanted clothing, and any other visual surface or texture.

Beginning in the modernist era, this contemporary art form was made famous by Pablo Picasso and George Braque inspiring future artists. This cut and paste technique has been a part of avant-garde art movements found in the works of Robert Rauschenberg, Jean Michel Basquiat, and many others.

You may be attracted to color, pattern, texture, shape, text, image, or any other surface quality. Consider using an atypical “canvas” such as a flattened box, envelope, or a shopping bag as

Fashion Drawing & Concept Collages

Reflect upon your finished collage and while it is its own artistic statement, the collage may become a source of inspiration for a future design project.

In many design practices, collages can also serve as a mood boards that depict the visual themes for graphic, fashion, or interior design projects and collections.

# C AC T U S JAC K + PA R S ONS

a base. With your media experiment and composite in multiple variations.

Your approach may be organic such as tearing and ripping materials and fixing them together with glue, tape, or any other method. Your insta-media collage may be visually representative of a cultural message or event, a statement about texture, surface, and pattern, or explore color harmony. Be open to serendipitous opportunities as you combine the materials that together may present a different expression than originally intended.

Materials — Available media that you already own — A surface for the collage — Methods to assemble materials such as glue, tape, or another technique — Scissors, if applicable for cutting and assembling the collage

Create — Finished collage created from available materials — Reflect upon the visual storytelling — Consider how the collage may inspire future art and design projects

Get Inspired — Jean Michel Basquiat — Pablo Picasso — Georges Braque — Robert Rauschenberg — #collages on Instagram

©All Rights Reserved. The New School

11

# C AC T U S JAC K + PA R S ONS ©All ©AllReserved.

Rights Reserved.

The NewThe School New School 12 Rights

Photographing Beauty In Our Lives

Kamal Badhey is a photographer, documentarian, and educator based in New York. She has a Masters in Photography and Urban Cultures from Goldsmiths, University of London, and a Masters in Museum Education from Bank Street College. Her work intersects with diaspora and origin pilgrimages, using photography and family history to stitch together stories.

Portals and Passageways,

exhibited both locally and internationally, follows the path of her

jeweler ancestors from

Secunderabad, India. Kamal has experience collaborating with youth and adults in art education, teaching in public schools, transitional housing, community centers, and universities.

Her

work in accessibility has opened channels to collaborate, mentor, and teach with the Bronx Documentary Center, Lower East Side Girls Club, Literacy Through Photography Tanzania, Back to the Lab, and the Parsons Scholars.

She was a 2016-2017 Lewis Hine Documentary Fellow and 2018-2019 Claremont Documentary Project Fellow. www.kamalbadhey.com @kamal_badhey @portalsandpassageways

©All Rights Reserved. The New School

13

# C AC T U S JAC K + PA R S ONS

The camera has the ability to share many different perspectives through its frame.

In this portrait session, Kamal Badhey photographed her mother, Rathnamala, using window light to illuminate her beauty. Rathnamala chose a simple black and white sari and pearls to represent herself that day.

KAMAL BADHEY

02

K A M A L B A DHE Y ­—

Portraiture:

# C AC T U S JAC K + PA R S ONS

PHOTOGRAPHING BEAUTY IN OUR LIVES WHAT YOU’LL LEARN The steps needed to create a portrait session with the people around you How to interact with a sitter before and during a photography session How to experiment with lighting and perspective by trying different angles

14

©All Rights Reserved. The New School

The camera is a powerful tool for visual storytelling. A portrait can be a photograph of a person that expresses something about them. As an art form, portraits have been used for centuries to elevate the images of the people they depict. Photography, both an art form and a technological advancement, has democratized images of people.

Photographic portraits are in family albums, newspapers, and social media.

You can use your camera to take portrait photographs of people in your life and community. First pick someone to pose, a sitter with whom you are familiar, and then a location where you would like to photograph them.

A good place to start is to have the individual sit close to a window where you can experiment with light. Natural light sources can highlight different features on the sitter’s face and body.

The direction and intensity of the light changes as you move your sitter away or towards the window.

You can ask your sitter to dress up in a way that inspires them in either casual or formal clothes. For their first photographic session, give your sitter the power to decide how they want to be represented in their outfit. After they feel comfortable, you can innovate with accessories. Try to connect with your sitter by talking to them before you start taking photos.

At the beginning, take a few photographs until the sitter becomes comfortable with the camera. Try different angles and points of view bird’s eye (from above), worm’s eye (from below), and at eye level). Use your body to move around your sitter to find interesting framing. It helps to think in a rectangle when photographing; what you include in the frame is what makes the photograph unique. When you are taking a photograph, get close to the sitter also. Try to photograph details such as their hands, jewelry, and features beyond their face.

Digital Photography & Art Installations

— Camera on mobile device, DSLR, mirrorless camera, or film camera — Expressive outfits, accessories, or props for the chosen sitter

Create — A set of portraits that can be used for an art exhibit — Intimate personal images that can be used on social media to share visual stories about your life and community — Portraits that feature clothes, style, or accessories

Get Inspired — Alessandra Sanguinetti — Dawoud Bey — Kennedi Carter — Nadia Sablin — Diversify Photo — Authority Collective — Women Photograph — En Foco — Ethan Greene ©All Rights Reserved. The New School

15

# C AC T U S JAC K + PA R S ONS

Materials

K A M A L B A DHE Y —

Art Installation:

HERITAGE AND MEMORIES “My Ammamma was the community singer in our family.

She loved to pray and sing devotional songs.”

# C AC T U S JAC K + PA R S ONS

- Kamal Badhey

WHAT YOU’LL LEARN How to work in 3-D form and construct an idea based on the positioning and layering of objects How to curate different objects and place them next to each other to create new meanings Ways to communicate and honor your personal history and past through written reflection and installation

Many artists call on their family, personal relationships, losses, and heritage as a source of inspiration for their creative work. In this exercise, you will be collecting objects from your personal history that can range from old photographs, nature around you, fabric, ritual objects, or things you use on a daily basis. With these objects, you will create a 3-D installation in your home inspired by your personal history. Before locating objects for your installation, reflect on the following questions through writing. Try to add details from all five senses in your descriptions. Feel free to write a diary entry, short story, memoir, or poem in any language you would like: - What intergenerational stories have been passed down in your family?

- What significant memories do you have about your own childhood?

- Thinking of your personality and personal history, how would you like to be remembered?

16

©All Rights Reserved. The New School

- How do you want to honor those who have come before you? What objects symbolize who they were?

- If you could write a letter to an ancestor, what would you put in your letter?

After you finish your written reflection, think about the type of installation you would like to create and where its home will be. Many cultures have roots in this type of process which can be seen in ancestor rituals, Day of the Dead altars, and shrines. The art of your installation will come from your selection of your objects, the placement of them, and what you would like to communicate through these objects. As you are creating your installation, take photographs to show your process. Notice what you’ve added or taken away as you start to tell the story of your personal history and memories through your installation.

When you are completely finished, take a few photographs of the whole installation focusing on composition and details. take a few photographs of the whole installation focusing on composition and details.

Digital Photography & Art Installations

Materials — A surface or wall where you can create your installation — Permanent or temporary wall hanging supplies: adhesive tape, push-pins, tacks, paper clips, picture hanging hooks, damage free hanging strips or hooks, etc.

— Picture frames — Photographs from the past or present of your family or other people you want to honor — Objects of significance or memory: clothes, jewelry, flowers, spices, toys, utensils, instruments, etc.

— Natural objects: flowers, shells, grass, rocks, plants — Written material: letters, poems, quotes, memoir — Camera on mobile device, DSLR camera, mirrorless camera, or film camera

Create — An installation of your family or community that shares a personal story or history, which is made individually or collaboratively and shared with family members and visitors

Photographer Kamal Badhey creates an art installation to celebrate memories of her grandmother

— Photographic documentation and a personal written reflection to remember your family and community — A personal intimate installation of your heritage that you can share in a public space in your community such as a school, community center, art gallery, or the library

Get Inspired — Albert Chong — Amalia Mesa-Bains — Priya Kambli — Mercedes Doramei

©All Rights Reserved. The New School

17

# C AC T U S JAC K + PA R S ONS

— Optional: projector to project images of your family

# C AC T U S JAC K + PA R S ONS ©All ©AllReserved.

Rights Reserved.

The NewThe School New School 18 Rights

Art in Odd Places: Scale and Juxtaposition of Placement

Dianne Hebbert is a NicaraguanAmerican curator, painter, printmaker and installation artist. Raised in Miami, FL, she attended New World School of the Arts. She earned her BFA in painting from Purchase College and MFA in Printmaking from Brooklyn College. She is a recipient of the Vermont Studio Center Fellowship and residency.

She was selected as a Smack Mellon Hot Pick Artist in 2017 and an Emerging Leader of New York Arts 2016-2017 Fellow. Hebbert has completed residencies at Trestle Art Space, Constance Saltonstall Foundation for the Arts and is currently a Chashama Space to Connect artist.

She has independently curated art exhibitions in New York and Virginia with a focus on diversity since 2011. She has curated for small galleries in Bushwick, Brooklyn for the Virginia Center for Latin American Art, The College of New Rochelle, and most recently for Chashama’s Space to Connect Program. Hebbert is currently based in New York City. www.diannehebbert.com @diannehebbert

©All Rights Reserved. The New School

19

# C AC T U S JAC K + PA R S ONS

Dianne Hebbert Lucha por la patria - 2018 Flashe paint on frosted mylar 36” x 24” in

DIANNE HEBBERT

03

DI A NNE HE BBE R T —

Art in Odd Places:

# C AC T U S JAC K + PA R S ONS

SCALE AND JUXTAPOSITION OF PLACEMENT WHAT YOU’LL LEARN Exploration, play, and process in artistic composition How your surroundings, culture, and interests can inspire you creatively Evaluation of scale and how to play with this in your 2D work

In this fun, hands-on project, participants will play with scale in real spaces. Have you ever seen a public sculpture? Have you noticed how the artwork stands out against its surroundings? Or maybe it blends into the existing landscape?

In this project, you will think about juxtapositions in art. Begin by drawing or painting an object, person, or abstracted form. Cut out the artwork to the edge of its outline, leaving the rest of the paper behind. Once you’ve done this, place the artwork in different places around your home or outdoors using tape or sturdy paper so the object holds its form.

Then, using a camera, take photographs of your artwork in its new surroundings.

Play with objects in the space.

Think about how different objects and placement alter the overall composition and meaning of your art.

Keeping scale in mind, use objects to play with size and perception. Take as

20

©All Rights Reserved. The New School

many photographs as you like. Create multiple objects, figures, or abstracted forms. Use friends or family for additional fun.

Repeat the process and reflect on your images. Journal your thoughts about the sequences of images. Which compositions work best and why? Ask yourself, what am I saying with this particular composition? What am I emphasizing when I choose a particular size to work with? Repeat and reflect on the process.

This is a great way to think about the concept and composition of your work. Sculptors often create models of their work for applications for public art. What would you create for your neighborhood?

3D Art in Environment & Printmaking

— Card stock paper or other heavy weight paper — Pencil — Colored pencils, markers, or paint — Scissors — Tape — Digital camera or mobile device camera

Create — Journal entry reflecting on your process, your art, and the message behind it — Multiple installations of your art around your environment — Photo series of different versions of your installation

Get Inspired — Claes Oldenburg

©All Rights Reserved. The New School

21

# C AC T U S JAC K + PA R S ONS

Materials

DI A NNE HE BBE R T —

Creating Multiples:

# C AC T U S JAC K + PA R S ONS

KITCHEN LITHO

WHAT YOU’LL LEARN How to design your own image or statement How to create multiple prints at home Understanding of how the transfer works

22

©All Rights Reserved. The New School

Printmaking has a long history in mass communication. The art form was invented as a way for artists, playwrights, and authors to distribute their work to a large number of people.

In 1798, Alois Senefelder developed the process of lithography. Using the fascinating chemistry of kitchen lithography, you can create works of art to send to people as stationary, postcards, flyers, and more.

First, sketch your drawing on aluminum foil with crayon. Remember that text is inverted when printing. Then, sprinkle baby powder over your design. In a circular motion, rub baby powder over your design. Brush off the excess powder. Next, add pancake syrup with a slightly damp paper towel. Buffer the pancake syrup onto the aluminum foil until dry. Grab your soda. Soda acts as the acid, so a new bottle or can works best. You only need enough to cover your image. Leave the soda over your image to etch for a few minutes.

Remove with a paper towel. You can

3D Art in Environment & Printmaking

Materials

Create

— Aluminum foil

— Sketches of your print design

Wearing gloves, roll out your oil paint using a brayer. Then, roll your brayer over your design for inking. Because this process functions by the resistance of water and grease, you need to keep your foil moist during the printing process. Use a paper towel soaked with a mixture of water and syrup to wipe off the surface. You are now ready to print. Place your sheet of paper over the image. Then, place a scrap sheet of paper on top. Thoroughly and firmly rub the back of the paper with a baren or the back of a spoon.

— Crayon or oil pastel (any type, darker colors work best)

— A final printed image

— Soda (Coca Cola, etc.)

— Paper towels — Baby powder — Tape — Large spoon or a printmaking baren

# C AC T U S JAC K + PA R S ONS

clean your surface with water and vegetable oil.

— Different versions of your original sketch (experiment with your design!)

Get Inspired — Alois Senefelder — The history of printmaking

— Vegetable oil — Paper (cardstock or smooth papers work best) and scrap paper — Brayer — Water

It takes time for ink to build up to fully print your image. It is normal for your first few prints to print light.

— Pancake syrup — 1 tube of oil paint in a color of your choice

©All Rights Reserved. The New School

23

# C AC T U S JAC K + PA R S ONS

DI A NNE HE BBE R T —

24

©All Rights Reserved. The New School

3D Art in Environment & Printmaking

# C AC T U S JAC K + PA R S ONS

©All Rights Reserved. The New School

25

# C AC T U S JAC K + PA R S ONS ©All ©AllReserved.

Rights Reserved.

The NewThe School New School 26 Rights

Virtual Photoshoot

Collaborative storytelling through clothing styling based on the theme of Capturing Joy.

Originally from Silver Spring, Maryland, Pamela Shepard-Hill has always been a curious creative.

Coming from a family that honored education and stability, Pamela followed the examples of those in her immediate orbit. After graduating from Spelman College with a degree in Computer Science and Math, Pamela pivoted to fashion. Presently, Pamela works as a New York-based costume designer, stylist, and educator.

For the past 14 years, Pamela has worked to build wardrobes that convey the visual narratives for television, commercial, advertising, runway, and personal styling clients. Pamela’s client list includes Viacom, Microsoft, Macy’s, Ralph Lauren, and Oribe.

With a component of her work that is dedicated to youth arts education, Pamela has created community partnerships that highlight wardrobe styling as a possible career path for young creatives. An integral part of Pamela’s work is rooted in exploration and play. www.pamelashepard.com @pspamelashepard

©All Rights Reserved. The New School

27

# C AC T U S JAC K + PA R S ONS

PAMELA SHEPARD-HILL

04

PHOTOSHOOT

# C AC T U S JAC K + PA R S ONS

VIRTUAL

PA ME L A S HE PA RD - HIL L —

28

©All Rights Reserved. The New School

WHAT YOU WILL LEARN Storytelling through clothing Collaborative communication How to convey emotions through style

This exercise gives you the opportunity to explore a core requirement for styling - imagination. The responsibility of a wardrobe stylist is to shape one’s aesthetic. This person develops, designs, or advises on wardrobe and presentation. This work is rooted in respect for a person’s body as well as honoring the comfort and safety of others. Collaboration is a key component in this work.

The virtual photoshoot challenges the student to collaborate with someone to produce images. For your shoot, the theme is “capturing joy.” Over Zoom

Fashion Inspiration & Fashion Styling

Present your ideas to your model. Share your vision for their outfit(s). They can wear the same look in each picture, or you can switch it up and have them in multiple looks - it’s up to you. Work with what they have in their closet to achieve your desired look. From there, shoot photos and have fun in the process.

Materials — Computer or a mobile device with a camera — Zoom, Facetime, or a similar video meeting app — Clothes - utilizing whatever your models have in their home

Create — 3 images rooted in collaboration and exploration

Get Inspired — Virtual photoshoots — Zoom/Facetime portraits

©All Rights Reserved. The New School

29

# C AC T U S JAC K + PA R S ONS

or Facetime, you will collaborate with a friend to create images surrounding this theme. First, establish who you would like to serve as your model. This can be anybody, from your younger cousin to a friend. Remember, you cannot be in the same space; this is happening virtually. From there, brainstorm how you want to approach the shoot. What does joy mean to you?

How do you capture that feeling? Are there particular colors that make you feel joyful? Is there a particular setting that ignites joy? Unpack questions that help anchor the elements you’d like to have in your picture.

WALK

# C AC T U S JAC K + PA R S ONS

EYES OPEN

PA ME L A S HE PA RD - HIL L —

WHAT YOU WILL LEARN The accessibility of inspiration How to reimagine and creatively adapt clothing An approach to sustainability

This is an exercise in observation and taking in your environment as inspiration. This project begins by simply taking a walk. As you are walking, look around and observe all that is around you. Without any hesitation, snap a photo of any and everything that you’re drawn to. This could be anything from the colors of brick in a building to the wrapper of a candy bar to a sign in a store window. Anything that you feel a connection to is suitable for inspiration.

Because of the routine in our lives, we often take for granted what we see on a daily basis. This activity is asking you to not think, but rather feel.

Once you have returned home, create a collage of your pictures. From there, build looks from your closet that are inspired by your pictures. There’s a lot of room for interpretation. For example, perhaps one of your pictures is a stop sign. You could create a look that has a bright red sweatshirt, jeans, and sneakers. Or you could have a more

30

©All Rights Reserved. The New School

Fashion Inspiration & Fashion Styling

I encourage you to take pictures based on what sparks interest and not what you know you already have in your closet. I honestly am not a colorful dresser. I mainly wear black, white, and navy. It wasn’t until I got home from my Eyes Open Walk that I realized how much color I don’t have in my closet.

To create these looks was an exercise in digging and reimagining.

Materials — Digital camera or mobile device camera — Computer or mobile device to archive images — Clothes - utilizing whatever you have in your home

Create — 3 outfits inspired by pictures that you have taken

Get Inspired — Online tutorials on how to photograph your art — Online tutorials on flat lay styling and photography

©All Rights Reserved. The New School

31

# C AC T U S JAC K + PA R S ONS

abstract approach like incorporating a piece of clothing that has a print with hexagon shapes. It could even be a piece of clothing that has words with messaging around “stop.” Any way you interpret your inspiration is correct.

There are no wrong answers.

# C AC T U S JAC K + PA R S ONS ©All ©AllReserved.

Rights Reserved.

The NewThe School New School 32 Rights

Metamorphosis: 2D to 3D Art Forms Exploring the conversation between 2D and 3D art forms

Scherezade García is a painter, printmaker, and installation artist whose work explores allegories of history, migration, and collective and ancestral memory. She holds an AAS from Altos de Chavón School of Design, a BFA from Parsons School of Design, and an MFA from The City College of New York, CUNY. Her work is included in the Smithsonian American Art Museum’s permanent collections, the Art Museum of the Americas, El Museo del Barrio, The Housatonic Museum of Art, El Museo de Arte Moderno in Santo Domingo, and others.

García is the recipient of the Joan Mitchell Foundation Painters & Sculptors Grant (2015) and the Colene Brown Art Prize (2020).

An edited monograph on her work

Scherezade García: From This Side of the Atlantic was published in 2020 by the Art Museum of the Americas. She’s represented by Praxis Art Gallery in New York. www.scherezade.net @scherezadegarcia

©All Rights Reserved. The New School

33

# C AC T U S JAC K + PA R S ONS

SCHEREZADE GARCIA

05

S C HE RE Z A DE G A RC I A —

Metamorphosis:

# C AC T U S JAC K + PA R S ONS

2D TO 3D ART FORMS

WHAT YOU WILL LEARN The different ways to start and approach an art project The properties and interactions of 2D‌‌ and‌ ‌3D‌ ‌ ow to give‌ ‌a‌ ‌project‌ ‌a‌ H ‌greater sense ‌of‌ layer and depth

34

©All Rights Reserved. The New School

This‌‌project‌explores the conversation between 2D and 3D art forms. We’ll look at how to approach creating 2D art (specifically a drawing or painting), and we’ll then transform the original work into a new 3D sculpture. Inspired by how dimensions are experienced both in the art world and in life, this project aims to show you how to integrate different everyday materials into your work and how these materials can add new meanings to a 2D piece.

Let’s‌ ‌begin‌ ‌with‌ ‌a‌ ‌pencil,‌ ‌watercolor paints,‌ ‌paper,‌ ‌or‌ ‌any‌ ‌art medium‌ ‌you‌ ‌enjoy.‌ ‌Think‌ about ‌color,‌ ‌texture,‌ ‌forms,‌ ‌and shapes. ‌You can pick‌ ‌a‌ ‌“muse”‌ ‌(an image or subject that serves as a personal source of inspiration) to jumpstart your making. For‌‌example, take a ‌look‌‌around‌‌you and consider your surroundings to identify a view. Pick something like a beautiful‌ ‌combination‌ ‌of‌ ‌color‌s ‌in‌ ‌a ‌sofa,‌ ‌a‌n image from ‌a‌ ‌postcard, or ‌a‌ ‌group ‌of‌ ‌knicknacks‌ ‌on‌ a ‌shelf.‌ From these visuals, ‌create‌ ‌a‌ ‌series‌ ‌of‌ ‌5 abstract‌

2D and 3D Art Forms

i‌ mages‌ ‌inspired‌ ‌by‌ your view (multiple views are welcome).‌Then, working with these images as a base, ‌transform ‌the‌ ‌2D‌ ‌series‌ ‌in‌to ‌3D by making and attaching layers.‌ ‌You‌ ‌might‌ ‌cut‌ ‌pieces‌ ‌of‌ ‌paper‌ ‌or‌ ‌any‌ ‌material‌ ‌you‌ ‌can‌ manipulate‌‌widely and attach this to the 2D base.‌ ‌You‌ ‌might‌ ‌use‌ ‌fabric‌ ‌and‌ ‌sew pieces onto the base, or create soft sculptures from various materials for a 3D effect. ‌Experiment‌‌and‌‌engage‌ ‌with the ‌interactions t‌ aking place between shapes, colors, and textures.

— Your‌ ‌five‌ ‌senses‌ ‌ — Paper,‌ ‌watercolor‌ paints, fabric scraps, ‌or ‌any‌ materials ‌you‌ ‌enjoy‌ ‌working with — Pins,‌ ‌tape,‌ ‌glue,‌ ‌and‌ ‌other methods of a ‌ttaching‌‌ — Scissors‌ ‌

Create — A‌ ‌series‌ ‌of‌ ‌2D‌ ‌pieces‌ ‌ — A‌ ‌series‌ ‌of‌ ‌3D‌ ‌pieces‌ ‌inspired‌ ‌by‌ ‌the‌ ‌2D‌ ‌series‌

Get Inspired — Christo and Jeanne-Claude — Frank Stella — Mike Kelley ‌ — Wendy Letven

©All Rights Reserved. The New School

35

# C AC T U S JAC K + PA R S ONS

Materials

S C HE RE Z A DE G A RC I A —

It’s Showtime:

# C AC T U S JAC K + PA R S ONS

DESIGN A MINIATURE STAGE WHAT YOU’LL LEARN How to work‌ ‌with‌ ‌a‌ ‌narrative‌ ‌and‌ ‌develop ‌tactics‌ ‌of‌ ‌visual‌ ‌storytelling‌ ‌ The properties and interactions of 2D‌ ‌and‌ ‌3D‌

36

©All Rights Reserved. The New School

This‌ ‌exercise‌ ‌is‌ ‌structured around‌ ‌a ‌collection of ‌sounds,‌ ‌words,‌ ‌colors,‌ ‌movement‌s, ‌and‌ ‌spaces, ultimately drawing from the importance of the senses.‌F ‌ irst, use your sketchbook to recreate‌ ‌a‌ ‌favorite‌ ‌story by ‌writing down ‌the‌ ‌words,‌ ‌colors,‌ ‌songs,‌ ‌moments,‌ ‌or‌ ‌quotations‌ ‌that‌ ‌provoke‌ ‌‌thought.‌ ‌Take‌ ‌notes‌‌on all of the details to inspire your creation. ‌ Now, we’ll develop a play. Use t‌ hose initial ‌words, sounds,‌‌and movements you have gathered to create a set for the ‌narrative‌. Design a miniature stage for a theatre using cardstock for the walls. As you design your set, take into account the aesthetics of a performance space. Think about your main characters. Are they friends, family, or romantic partners? How would the audience view the performance?

As you construct your miniature stage, create illusion and play with shadows by using semi-transparent paper. With each of your artistic decisions, think about how the set tells your story.

2D and 3D Art Forms

# C AC T U S JAC K + PA R S ONS

Materials — A‌sketchbook‌‌ — Cardstock — Fabric,‌ blank ‌paper,‌ and ‌printed‌ ‌paper‌ ‌ — Vellum‌ ‌semi-transparent‌ ‌paper‌ ‌ — Any‌ ‌material‌s ‌you‌ ‌enjoy‌ ‌working‌ ‌with, like ‌acrylics,‌ ‌watercolors,‌ gouache,‌or oil pastels ‌ — Tape — Scissors‌

Create — Visual storytelling in your sketchbook with color, texture, form, and more — A m ‌iniature stage ‌ reflective of a story, place, and characters

Get Inspired — Chinese Handscrolls at The MET‌ — Karagöz, Turkish Shadow Puppets ‌ — Paul Klee — Wassily Kandinsky — William Kentridge ‌ ©All Rights Reserved. The New School

37

# C AC T U S JAC K + PA R S ONS ©All ©AllReserved.

Rights Reserved.

The NewThe School New School 38 Rights

Self(ie) as Avatar

Exploring hyper-real personas

Bryan Melillo received his MFA from the School of Visual Arts in 2005 with a focus on Painting and New Genres after earning his BFA from the San Francisco Art Institute in 2002. As an assistant professor at Parsons, he teaches in the First Year Program, including a class called Avatar where students explore their personal ability to transform materials into sacred and powerful artifacts. Bryan has an active personal studio practice as well as an ongoing commission art business. Notably, in 2017, he completed and installed a largescale oil painting in St Rose of Lima Catholic Church - Reno, Nevada. www.bryanmelillo.com @bry_melillo

©All Rights Reserved. The New School

39

# C AC T U S JAC K + PA R S ONS

BRYAN MELILLO

06

AS AVATAR

# C AC T U S JAC K + PA R S ONS

SELF(IE)

BRYA N ME L IL LO —

WHAT YOU WILL LEARN How props (real or digital), gesture, and expression in performance can create alternative selves or avatars Sharpened photography and digital editing and collage skills

40

©All Rights Reserved. The New School

Self(ie) as Avatar uses private performance, photography, and appropriation to explore our many identities. Where do these identities come from? Identity is shaped by many things, but the most prominent are the experiences we have with family, our perception of who we are in the public, and who we are when we are alone in private. Using photography and a digital photo editing tool (like Photoshop, ProCreate, or Krita) and phone and tablet apps, this exercise explores and creates different personas and the sometimes fantasy realms they live in using symbolism and metaphors.

These days, avatars are associated with gaming, but the word avatar has an ancient origin and can mean anything from an incarnation, embodiment, or manifestation of a person, idea, or an identity. Inspired by the artwork of Cindy Sherman you are encouraged to incorporate props, make-up, a wig, or any other costume elements that help you explore your ideas. You can also construct these elements digitally.

The goal of this project is to explore self portraiture image-making in an iterative and incremental way. You can apply different elements and principles of art and design, especially

Avatars & Mask Making

# C AC T U S JAC K + PA R S ONS

composition, emphasis, and unity.

Here are a few steps to get you started.

To begin, photograph yourself in soft, indirect light. Upload your photos to a software app on either your phone or laptop and remove the background using the magic eraser tool or a comparable method. Next, have fun adding different facial features. Then bring in other images that will become part of your new avatar. You can explore opacity, scale, and different placements for background images in relation to the figure.

Materials

Create

— A camera (this can be anything from a cell phone camera to a DSLR)

— A series of 3 photos representing three different sides of your personality: familial, public, and private

— Props, make-up (optional), wig (optional), or anything else you think would help develop your personal avatar (these can also be created using digital software and apps) — Digital software like Photoshop, Illustrator, ProCreate, or Krita

— Reflection on how this investigation through performance allows for a deeper awareness of yourself in various contexts — Consideration of how performance can be used as an agent for change

Get Inspired — Cindy Sherman

©All Rights Reserved. The New School

41

MASK MAKING TO TRANSFORM AND EMPOWER

BRYA N ME L IL LO —

WHAT YOU WILL LEARN

# C AC T U S JAC K + PA R S ONS

Historical and contemporary uses of masks How to use your sketchbook to explore design ideas How to create a mask based on your initial research and drawings

In many cultures throughout history, masks serve as vehicles for personalities to emerge and be transformed and celebrated. For instance, in West Africa, masks are made to endow the wearer with spiritual power.

The goal of this project is to explore the timeless activity of mask making as a transformative experience. You’ll develop visual ideas that will lead to a materials response and exploration, culminating in the creation of your own archetypal mask. Masks can be made from a variety of materials but this project uses plaster strips over a plastilina foundation for the mask.

Start by researching masks from around the world and throughout time. Combine journaling of your ideas with research to explore how masks continue to function in sacred settings and how they can be transformative in the everyday.

To begin the mask making process, find a base like a bowl or take-out container. Use plastilina or clay to build your mask face on top of the bowl. Next, prepare your mask base for the plaster strips. Cover your mask with a lot of petroleum jelly before adding the plaster strips. This makes it possible to remove the mask from the base when the plaster strips dry. You

42

©All Rights Reserved. The New School

Avatars & Mask Making

# C AC T U S JAC K + PA R S ONS

can add your plaster strips following these instructions. Cut plaster fabric to various sizes; cut some smaller strips for the tighter areas. Gently dip plaster strips into the water bowl. Don’t get them too wet. Apply and overlap the wet plaster strips to the clay surface.

Two rounds are needed for strength.

Once your mask is dry, carefully remove it from the base. Cut off any loose threads around the edges of the mask, and begin painting and adorning it with color and materials.

Photograph your mask in a new context or environment with yourself or someone wearing it.

Materials — Sketchbook — Plaster of Paris strips (4 inch by 5 yard roll) — 5 pounds of Plastilina (always read suggested use and safety data on product packaging) — Clay cutting and shaping tools (optional, found on Amazon) — Petroleum jelly such as Vaseline (any brand will do): approximately 4 ounces

— Base for mask such as a bowl or plastic takeout container — Acrylic paint and brushes

Create — A sketchbook exploration showing progression of design thinking — A mask created from a variety of materials expressive of your inspiration, ideas, and personality

— BIN shellac-based primer (from any hardware or paint store)

Get Inspired

— 1 inch disposable chip brush

— Masks at The MET

— Plastic bag to cover Plastilina when not working

— Second Face Museum of Cultural Masks

©All Rights Reserved. The New School

43

# C AC T U S JAC K + PA R S ONS

BRYA N ME L IL LO —

44

©All Rights Reserved. The New School

Avatars & Mask Making

# C AC T U S JAC K + PA R S ONS

©All Rights Reserved. The New School

45

# C AC T U S JAC K + PA R S ONS ©All ©AllReserved.

Rights Reserved.

The NewThe School New School 46 Rights

Self and Social Identity: A Personal Brand Having fun with mark making to inspire logomarks

Gigi Polo is a Dominican designer, filmmaker, and researcher; she is the Principal of Myellow Boots Studio, and Part-Time Associate Teaching Professor at The New School’s Parsons School of Design for both onsite and online classes. She is also an adjunct professor at Montclair University, LIM College, and CUNY, where she teaches design theory and practice, film, and advanced Graphic Design. Her passion for teaching lies at the intersection of student-centered teaching and brain-based learning. She is invested in developing new teaching approaches that foster digital literacy and equity, using as premise her research on e-learning practices and interactions in virtual spaces.

Gigi is the producer/editor of a documentary about bipolar disorder and the artistic temperament, called Madly Gifted, and an active advocate of mental health and social justice.

Gigi is the Lead Designer for Nu Solutions Group where she designed—and manages—their brand identity and social media presence. www.myellowboots.com www.madlygifted.com

©All Rights Reserved. The New School

47

# C AC T U S JAC K + PA R S ONS

GIGI POLO

07

GI GI P OLO —

Self and Social Identity:

# C AC T U S JAC K + PA R S ONS

A PERSONAL BRAND

WHAT YOU’LL LEARN How to play with found objects to create analog textures and printed images/shapes How to digitize analog graphics using free apps How to experiment with form, icons, and typography

Brand identity is a complex visual system that holds the ideals and values of a certain brand, be it a product, a service, or an entity. This identity encompasses the tone, voice, culture, and look and feel of a brand.

A small piece of this puzzle is the logo, a visual representation of these values and ideals that is then applied to many contexts, such as packaging, business cards, and social media avatars. A logomark is a symbol or an abstract, non-verbal, representation of a brand’s ideals that does not include the name of the brand but rather stands alone.

Logomarks may reflect years of market recognition, hence most appropriate for businesses that are already market leaders with an established brand identity (think the Nike swoosh).

In this exercise, you will develop your personal logomark. We’ll start with a brainstorming and mind map exercise.

In 3 minutes, write as many words as possible that come to mind when

48

©All Rights Reserved. The New School

you think about your identities. Look at your words and organize them in clusters based on similarity and affinity.

Pay attention to any repeated words because repetition means that it is important. Next, find objects that could help you represent the words from your brainstorming and mind map exercise.

Think in terms of individual words and also clusters.

Then, apply paint to each object and press onto paper or fabric to create different textures, forms, and marks.

Take close up pictures of your favorite marks to digitize and present them in a board format. Use a graphic design software app such as Imaengine to turn all marks into digital drawings. Select pieces and play around with color and different form combinations.

Branding Graphics & Storyboard Zines

Materials — Found objects — Acrylic paint or similar — Paper (construction, poster paper, or similar) — Phone camera — A graphic design software app such as Adobe Illustrator or one of several free or affordable graphic design apps such as Gravit Designer, Imaengine, or Vecteezy

Create # C AC T U S JAC K + PA R S ONS

— Brainstorming exercise documentation — Series of at least 10 analog prints on paper — A logomark of your personal brand

Get Inspired — Online Search: Personal Branding — Online Search: Brand Identity — Logo Design Love: A Guide to Creating Iconic Brand Identities, by David Airey — “Generating Logo Design Ideas” podcast, Arek Dvornechuck interviews Bill Gardner

©All Rights Reserved. The New School

49

ZINES IN ACTION

# C AC T U S JAC K + PA R S ONS

DAILY RITUALS:

GI GI P OLO —

WHAT YOU’LL LEARN How to tell a story in still frames How to use storyboards (zine format) as a way to illustrate a story How to produce an animated flipbook

Rituals might be manifestations of religious practices. They can also be repeated behaviors that form habits over time. The constant repetition of specific actions gets imprinted in our brain and becomes automatic behavior.

Many artists and designers talk about how their everyday rituals keep their creative juices flowing. As creatives, we can set our own rituals so we can recreate the optimal conditions for creative output in an automatic way.

Ultimately, you want to understand your creative process so well (what works, what doesn’t work, what times of days are more productive, what precedes your moments of insights, etc.) so that you create those conditions naturally to achieve confidence, relaxation, and focus, leading to a state of flow.

In this art project , you’ll reflect on your daily rituals and will visualize them in a zine-style booklet. In order to take us into your daily journey, start by creating an 8-panel storyboard where you sketch one ritual per box, and

50

©All Rights Reserved. The New School

then refine it to create a zine. Then, choose one of your rituals and illustrate it in movement, frame by frame, and present it in a flipbook.

Using the storyboard format, sketch 8 of your daily rituals from the moment you wake up until you go to sleep.

Annotate what the ritual is about and the time of day when you perform it. Use the storyboard to inspire the creation of a zine. Here’s how to make an 8-panel zine: fold, cut, twist, and fold again. Make technical annotations to transfer the storyboard sketch into a refined zine format so you can understand where your front/back covers and sequence of inside pages will sit. Choose one of your rituals to bring to life in a short flipbook. Draw your ritual in movement, frame by frame. Use tracing paper for greater accuracy and then transfer to paper.

Redraw each of your frames in a saddle stitched (staple in the center) booklet.

Branding Graphics & Storyboard Zines

Materials — Paper — Pen, color markers, other media — Ruler — Xacto knife or scissors — Stapler

Create — Storyboard sketch of ideas — Final 8-panel storyboard (zine format) — Flipbook that illustrates at least 8 of your daily rituals in movement

Get Inspired — The First Secret of Design is ... Noticing, Tony Fadell’s TED Talk — Flow: The Secret To Happiness, Mihaly Csikszentmihalyi’s TED Talk

— “Our Three Brains - The Reptilian Brain,” by Andreas Komninos

©All Rights Reserved. The New School

51

# C AC T U S JAC K + PA R S ONS

— The Art of Noticing: 131 Ways to Spark Creativity, Find Inspiration, and Discover Joy in the Everyday, by Rob Walker

# C AC T U S JAC K + PA R S ONS ©All ©AllReserved.

Rights Reserved.

The NewThe School New School 52 Rights

Enveloping Space: Exploring Interior Space

Ian Gordon is an architect and co-founder of e+i Studio, a New York based architecture and design firm. The firm engages in project types ranging from architecture, interior design, product, set design, and choreography.

He has a Master’s Degree in Architecture from Columbia University and a Bachelor’s of Architecture from NC State University. He has over 20 years of experience working in New York, North Carolina, and Madrid, Spain for several well-recognized firms including Studio Daniel Libeskind and Perkins Eastman Architects.

Ian is an Adjunct Assistant Professor at Parsons School of Design, where he has been teaching Architecture, Interior Design, Drafting, 3D Software, and First Year Integrative Studios. www.eistudio.net

©All Rights Reserved. The New School

53

# C AC T U S JAC K + PA R S ONS

Fold, Bend, Split, Disarrange, Lift, Layer, Weave, Stretch…

IAN GORDON

08

I A N G ORD ON —

Enveloping Space:

EXPLORING INTERIOR SPACE # C AC T U S JAC K + PA R S ONS

ARRAY

FRAME

WHAT YOU WILL LEARN Explore form and composition, as well as an awareness of light and views Explore structure and how to keep the elements standing Investigate tectonics by testing out ways to connect the elements, either through folding, notches, or pleats How to use photographs and digital retouching to create visualizations of your prototypes 54

©All Rights Reserved. The New School

SHIFT

This is intended as a very quick and informal exercise to explore different spatial and architectural conditions.

Choose an action verb from the following list (or come up with your own): Fold, Bend, Split, Disarrange, Lift, Layer, Weave, Stretch Draw a series of straight lines (minimum of 6) on a piece of paper that fully span across each sheet. Create a pattern on each sheet that expresses the verb that you selected.

For example, the verb “shift” might be expressed in the drawing by a series of shifting lines. Then, use the lines you drew on the base sheet of paper as your guidelines for placing the envelope forms.

Fold or bend the standard paper envelopes to create different configurations. Using these standard envelopes as your “building materials,” create walls and enclosures.

Interior Space & Architectural Forms

Use glue (or the adhesive part of the envelope!) to connect the forms together. Allow yourself the ability to edit the form by repositioning or modifying the envelopes. Aim to create 3 spatial conditions that are inspired by your patterns.

# C AC T U S JAC K + PA R S ONS

Explore and play with different configurations by folding, curving, and tearing the envelopes and arranging them on the base sheet.

Materials — Paper envelopes — Hot glue and hot glue gun — Paper and pencil — Ruler

Create — 3 paper models — 6 grayscale photographs of the models at eye level

Get Inspired — Richard Serra’s Verblist — Folding Architecture, by Sophia Vyzoviti — Form, Space, and Order, by Francis Ching — Operative Design: A Catalog of Spatial Verbs, by Anthony di Mari

©All Rights Reserved. The New School

55

I A N G ORD ON —

Vertical Living:

# C AC T U S JAC K + PA R S ONS

EXPLORING VERTICAL BUILDING TYPES WHAT YOU WILL LEARN How words and ideas can be expressed through form Explore structure and balance by creating a vertical building that will need to stand Explore how a vertical building is organized and how these elements come together to create a unique whole

This project explores the relationship of building and landscape. It emphasizes testing and experimentation with pasta “brick” units to develop an architectural tower form. Chipboard or cardboard will be used to develop a terrain model upon which the tower sits. As you experiment with pasta “brick” model making of vertical building types, you’ll learn about form, structure, and organization.

For creative direction, explore how words and ideas can be used to inspire form. Start by choosing a word pair from the list below. This will be the conceptual basis that will guide the relationship between tower and landscape. The tower should be expressive of one of the chosen words, while the landscape will be expressive of the other word.

Flexible, Rigid, Smooth, Rough, Prickly, Flat, Expand, Contract, Concave, Convex, Reflect, Absorb

56

©All Rights Reserved. The New School

Next, develop “bricklaying” techniques.

Experiment by inventing various pasta bricklaying techniques using glue as the “mortar.” You will probably have to allow for drying time to get the units to bond.

Continue to experiment with the various ways you can combine/connect the pasta shape units. Make sure to create 3 different techniques. As you create, develop a program distribution concept for the tower. Here’s some prompts to get you started: What happens at the ground level? What happens throughout the middle of the tower? What happens at the top of the tower?

Interior Space & Architectural Forms

# C AC T U S JAC K + PA R S ONS

Materials — Cardboard or chipboard for the landscape base — A variety of pasta shapes (spaghetti, penne, ziti, etc.)

— Hot glue and hot glue gun

Create — A word pairing for your pasta structure (tower and landscape) — An architectural tower form model made of pasta “bricks”

Get Inspired — Building Structures Illustrated,

by Francis Ching — Skyscrapers: A History of the World’s Most Extraordinary Buildings, by Judith Dupre — The Skyscraper, by Paul Goldberger

©All Rights Reserved. The New School

57

# C AC T U S JAC K + PA R S ONS ©All ©AllReserved.

Rights Reserved.

The NewThe School New School 58 Rights

Upcycled Accessories: Coveted Objects Think “Creative Reuse!”

Troy Hul Arnold has worked in the fashion, art, and design industry for over a decade and has contributed to numerous projects and collections with renowned fashion houses such as: Salvor Projects, Maiyet, TSE Cashmere, Nicholas Kirkwood, Jeremy Scott, Peter Som, Donna Karan, and Nautica Sportswear.

Troy has spent a great period of his career re-defining textiles and utilitarian fashion products once carried by premium retailer Dover Street Market London and Ginza, Japan. His work has been featured at the Vogue Fashion Night Out (FNO) project during New York Fashion Week, and his handmade pieces were worn by Sarah Jessica Parker on the television series “Glee.”

Today, Troy continues to develop his design philosophy through an iterative process, while maintaining his presence as an Adjunct Instructor at Parsons School of Design.

troyhularnold.com @helene_of_troy

©All Rights Reserved. The New School

59

# C AC T U S JAC K + PA R S ONS

TROY HUL ARNOLD

09

T ROY H UL A RN OL D —

Upcycled Accessories:

COVETED OBJECTS WHAT YOU WILL LEARN

# C AC T U S JAC K + PA R S ONS

How to create an accessory by upcycling How to work creatively with found materials Different fabrication techniques and their structural purposes

In the world of fashion, the most coveted of all categories are the accessories. The accessories category includes scarves, hats, bags, shoes, and jewelry.

“Upcycling” is a huge trend in creating one of a kind fashion and accessories.

There is great value to the health of our planet to be able to convert waste materials into new materials and objects. “Upcycling” has added benefits in that we can take unwanted or no longer used materials and objects and create something new which is of greater artistic value. Think “Creative Reuse!”

For this project you will be able to reuse existing materials that may be laying around your home as well as fabric or malleable materials of any kind. It can be an old pair of jeans, t-shirts, sweatshirts, dresses, table cloths, shoestrings, plastic bags, old towels, or a shower curtain. Let your imagination be your guide. Using your creativity and your recycled materials, you will design and construct a coveted accessory item that inspires you.

A great upcycled fashion accessory project for beginners is to create a tote bag. This particular example shows a tote bag made from multiple pairs of old jeans, drawstring sweatpants, and

60

©All Rights Reserved. The New School

Fashion Making & Upcycled Fashion

Materials — Articles of clothing that you already own and are sick of and items such as ties, shoelaces, plastic bags, or fabric — Scissors — Needle and thread, fabric glue, or a stapler — Sketchbook for planning and sketching — Pencil or pen — Medium sized safety pins

Create — Your upcycled accessory using repurposed materials — Sketches and/or photo documentation of your design process — Selfie of yourself or a photo of someone with your finished accessory

Get Inspired — Chanel ad campaigns for eyewear, handbags, and jewelry — Iconic designer trims, fasteners, and embellishments — 80s vintage YSL

©All Rights Reserved. The New School

61

# C AC T U S JAC K + PA R S ONS

men’s neckties. Even if you have yet to learn how to sew, think about all the ways you could combine and fasten different materials –- fabric glue, safety pins, staples, binder clips, etc. Not only have you benefited the environment by not having to purchase a new tote bag, you’ve created a one of a kind original designer accessory.

# C AC T U S JAC K + PA R S ONS

T ROY H UL A RN OL D —

62

©All Rights Reserved. The New School

Fashion Making & Upcycled Fashion

# C AC T U S JAC K + PA R S ONS

©All Rights Reserved. The New School

63

T ROY H UL A RN OL D —

Fashion Reimagined:

REPURPOSE TO CREATE WHAT YOU WILL LEARN

# C AC T U S JAC K + PA R S ONS

How to create a new design statement from an older one How to play with different garment fabrication techniques How to join and manipulate repurposed materials

Learning to reimagine a garment is a necessary skill in the world of design. Every season, some of our favorite pieces are brought back to life with a new spin on how it can be worn or simply viewed. Fashion has revisited styles from many different time periods. In just one season, we can be transported to the 1960s mods and rockers or the 1990s hip hop and grunge. With every period, the same article of clothing has been transformed into new looks.

Many of our favorite fashion houses are tasked with the challenge of recreating a piece from a referenced message for a new function or for a good laugh.

For example, Franco Moschino was known for the cheeky messages and caricatures woven or printed onto his garments, and Martin Margiela forced us to reimagine an object as a garment and vice versa.

Now is your chance to reimagine an existing garment. Using an article of clothing (a button down shirt, T-shirt, pair of pants, or a dress), or a combination of all four, you can begin to reimagine what your piece can potentially look like and the design statement you’d like to convey. Using scissors, start to deconstruct your garment. Cut or tear your material with the goal of creating interesting

64

©All Rights Reserved. The New School

Fashion Making & Upcycled Fashion

Materials — An article of clothing that you already own and are sick of — Scissors — Needle and thread, fabric glue, or a stapler — Sketchbook for planning and sketching — Pencil or pen — Medium sized safety pins

Create — Sketches and/or photo documentation of your design process — Final reimagined fashion design — Selfie of yourself or a photo of someone wearing your finished design

Get Inspired — Franco Moschino — Martin Margiela — Mod fashion of the 60s and 70s — Mods and rockers — 90s hip hop fashion and style — 90s grunge & Gen X fashion

©All Rights Reserved. The New School

65

# C AC T U S JAC K + PA R S ONS

and useful pieces. Once that’s finished, start to reconstruct your new piece.

You can hand sew, safety pin, glue, or staple your pieces together to create your revised garment. While you create, think of the desired silhouette, drape, and function of your final piece.

THE CREATIVE TEAM

Christopher Musci

# C AC T U S JAC K + PA R S ONS

Director of Art & Design Summer Intensives and Pre-College Programs Christopher Musci is a multi-

Ryan LeMere

disciplinary designer and

Lead Designer

of experience specializing in

Ryan is an artist, creative director, and award-winning

design educator with 25+ years

Alex Bennett

visual communication design, product design, and branding for

Director of Global Pre-College Programs

fashion and other creative fields.

purpose-driven brands is fueled

Alexandra Bennett is an

& Design Summer Intensives &

by a passion for using design as

educator, writer, and academic

Pre-College Programs, he taught

a mechanism to create meaningful,

administrator. She earned BAs in

design and developed curriculum

shared experiences. Ryan is also a

Secondary Education and English

for the School of Fashion at

writer and the founder of Aligned

Literature from the University

Parsons School of Design. Chris’

Magazine, which explores the

of Missouri-Kansas City, and she

diverse range of industry career

intersection of personal wellness

earned an MFA in Creative Writing

experiences range from working

and social responsibility.

and an MA in Creative Publishing

in the Italian-made luxury

& Critical Journalism from The New

footwear market; to directing web

Ryan teaches art and design

School. Alex has held a variety of

and social media for actress,

as a mode of self and communal

roles at The New School, including

musician, and lifestyle brand

storytelling. He has taught

Part-Time Faculty, Assistant

entrepreneur Hilary Duff; to

and facilitated creative-based

Director of Curricular Affairs

creating executive design training

community initiatives for 10

for Parsons, and Director of Art

programs for leading fashion

years and has also taught movement

& Design Pre-College and Summer

design companies and retailers

and meditation throughout local

Intensives. Alex currently serves

such as Macy’s, Aéropostale, and

studios, schools, and the NYC

as the Director of Global Pre-

Victoria’s Secret. He earned a

jail system. He is currently

College Programs and as a Graduate

BS in Interior Design from the

teaching design at Parsons School

Admissions Officer for Parsons. She

University of Cincinnati’s College

of Design. As a teacher, speaker,

is most fulfilled when supporting

of Design, Art, Architecture, and

and facilitator, Ryan continues

youth and learning communities.

Planning. Additionally, Chris has

to unpack the role of creativity

Alex has taught in Haiti, India,

been a contributing writer and

inside experiences of identity and

and Uganda, and her writing is

consultant for multiple design

belonging.

published in multiple locations.

publications and textbooks.

designer based in Brooklyn, New York. His work with global and

66

©All Rights Reserved. The New School

Prior to his current role with Parsons Academy as Director, Art

EXECUTIVE EDITOR: Anne Adriance MANAGING EDITORS: Christopher Musci, Alexandra Bennett ASSISTANT EDITOR: Tomomi Tanikawa LEAD DESIGNER: Ryan LeMere CONTRIBUTING WRITERS, ARTISTS, & DESIGNERS: Kamal Badhey, Scherezade‌G ‌ arcia‌, Geoffry Gertz, Ian Gordon, Dianne Hebbert, Troy Hul Arnold, Bryan Melillo, Gigi Polo, Pamela Shepard-Hill COPY EDITOR: Katie Novotny PRODUCED BY: N VENTURES, THE NEW SCHOOL

# C AC T U S JAC K + PA R S ONS

The publication of this book is made possible in part through the collaboration and partnership of Parsons School of Design at The New School, Cactus Jack Foundation, The City of Houston Mayor’s Office, and My Brothers Keeper Houston. ©2021 The New School All rights reserved.

No part of the contents of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the written permission of The New School.

Every effort has been made to acknowledge correct copyright of images where applicable. Any errors or omissions are unintentional and should be notified to the publisher, who will arrange for corrections to appear in any repost. ©All Rights Reserved. The New School

67

# C AC T U S JAC K + PA R S ONS

68

©All Rights Reserved. The New School