This week in IP has been insanity. With the deadline for the student show and IP grant proposals (Money! Money?) both falling within a 48 hour period, there has been little time to work on much else.

That being said, the increased intensity level has leant itself to a shift from thinking to making. 

Here are a few of the Integrative Project Blogs / Personal Websites from fellow Seniors: 

Carlo Lorenzetti - Object Design 

Jill Brandwein -  Printmaking and Painting

James Blonairz - Woodcuts and Music Videos

Dylan Box - Furniture Design and Social Entrepeneurship 

Andrew Hainen - Digital Design and Interactive Media

Jenny Forrest - Graphic Design

Erica Wagner - Oil Painting

Enjoy! 

So, if you haven’t heard about this project and youre in the UM Art & Design community, you really have to start talking to your friends (or make some new ones). 

A few weeks ago, Art & Design/Interarts Performance Student Anya Klapischak unveiled her project to the captive Penny Stamps Lecture Series audience. I have to admit I wasn't sold at first. As a first class cynic I didn’t understand the need, are we not creating a supportive enough creative community of students? Do we need presentation practice? What's going on here? 

Well as it were, I got sold.

It just took a little bit of doing and an extremely charismatic peer of mine, Anya herself to bring to light what her project is capturing about our community about young artists. 

I had a mini-interview with her to get a bit more of a scoop. If you guys would like the whole back story be sure to read about the project as a whole on www.umshowwork.com but here are a few thoughts from the women herself who's bringing the current A&D student work together in a way I haven't seen in my long relationship with University of Michigan on December 15th at the Michigan Theater (Not too shabby, huh?) - plus, her fundraising efforts put some long running student groups to shame. 

How did the project start? Where did it originate?

My CFC II: Culture class has a very specific aim this semester: to examine, analyze, and understand the “Art School Culture” of the Art & Design School. After spending the first month of the semester conducting observational field research (ie: watching the Art & Design students when they didn’t know anyone was watching) we were given the assignment to now go ahead and affect the Art & Design culture.

I came out of the research phase completely struck by the level of work being done by the students of the school. It’s amazing and inspiring and provocative- and somehow under celebrated. I devised the UM Artists & Designers Coming Out Project as a vehicle to highlight not only the work we do individually, but the work being done by the little creative geniuses that sit next to us, that nap on the couches, that we see in the hallways everyday, that we proudly call our peers.

When did the project begin, how long will it be running? Do you have plans for continuation after December 15th?

The official launch was October 6^th, and the project doesn’t end until after the exhibit on Thursday, December 15^th. Or perhaps the project won’t end there- I am working on reformatting the project to become a continuing series, of at least one exhibit per month. Stay tuned.

What has been the most difficult part of the project?

This project is humbling because it’s something that is so much larger than I am. And while it’s a lot of work for myself alone to be a part of, it’s more work to get others to be a part of it. The project is meant to be a collective- but a collective is only functioning when several hands are working and a sea of minds are contributing. Getting those hands and minds is a 24 hour a day active effort.

How does this fit into your other work? Is this a new experiment?

While the UM Artists & Designers Coming Out Project is an entirely new project, it’s true to form of my past and current work. I’m a performance artist; I create happenings of heightened experience.

What is your background that makes you interested in this type of project?

I spent the first 17 years of my life in the world of professional ballet in Europe and New York. In America, I slowly segued into the world of professional theater. A brief stint in the Ivy League not only forced me back into art, but forced my two worlds to combine to form the one in which I currently and happily reside, performance art.

I get off on working with people. Making work that signs contracts of existing between several people, groups of people, millions of people, anything as long as it’s not just one person. I create work that exposes, highlights, and celebrates the experience of being in a room with another person.

Tell me the history of the jumpsuit. 

The long story is that it’s inspired by Tehching Hsieh’s one year performance, “Time Clock Piece,” in which the artists punched a time clock every hour on the hour for an entire year, taking a single photograph of himself with each time punch. I like the idea of a “worker’s uniform” and that putting on your “worker’s uniform” means that you’re going to or are working. But what I like more is the idea of always wearing your “worker’s uniform.” If I’m always wearing my “worker’s uniform” then am I always working? Am I therefore living in my work?

The short story is that wearing the uniform makes me the recognizable figurehead to whom donations can be made.

Show work, support work - I will be there with my handful of slides - will you be? 

          The Society of Art Students threw the Second Annual Art and Design Halloween Party this Friday in the Courtyard to a well attended crowd including special guests, Mother Nature, Carrie, Bob Ross, Lara Croft, Pikachu (actually three Pikachus…) and the Morton Salt Girl, among others.

          Many a hotdog and veggie burger was consumed and students left with a good solid sugar high that will hopefully last until real Halloween.

          Special thanks to John Leyland, (of ceramics studio fame) for both culinary and emotional support. Additional thanks for the last minute fabrication of a much-needed powder blue Sheppard’s hook. 

          Special Mention of Laura Gillmore – 2^nd Annual Costume Party Winner as Carrie, prizes included a year's worth of bragging rights and a skillfully crafted trophy from the Legendary Zack Weaver. 

HAPPY HALLOWEEN FROM ART AND DESIGN!

Stay Scary. 

Now lie back in your chair, please. Sorry, we don't have the full body bibs they give you at the dentist's office, so here, use this cardboard box to protect your clothing....

Now, sit still, we're going to fill your mouth with a pleasant-tasting neon-pink goo, otherwise known as alginate, a mold-making material used to make dental crowns...

...or, in this case, personalized cup holders.

Very personalized. 

Let me explain.

These are students in TMP: Construction (Tools, Materials, and Processes) who have been traveling from studio to studio, getting a whirlwind tour of various media. They've arrived at the ceramics studios where Roland Graf and Jeremy Brooks will introduce them to the art of mold-making, a construction technique that's used in clay but also in bronze, plastics, product design and more. As Roland points out to the class, almost everything around you, if it's manufactured, has been created out of a mold. Making a mold is a tricky process since it requires you to think in the negative.

The students will be making two molds: a plaster mold for a clay object (the cup) and a clay/alginate mold for a plaster object (the sculptural stand or cup holder.) The end result will be two sets of sculptural stands for two cups. Each stand must incorporate a life-casting of the student's own mouth and a slip-cast clay cup, one that is faithful to the original mold and the second one varied in a way that conceptually connects the vessel with the sculptural stand.

First the students will create a plaster mold for the clay cup.

Jeremy, below, is a master at slipcasting and in his own creative practice loves the tension that can occur when you use mass-production techniques like slipcasting to create one-of-a-kind objects. Here he shows the students a few techniques for altering the cup form once it has been removed from the mold.

Creating the mold for the mouth is a multi-step process which, as you saw above, starts with a spectacular pink beard formed out of alginate.

After the alginate is poured in the desired formation, students must sit still for 15 minutes as the alginate sets.

After it sets, the alginate is ready to be removed and a perfect negative formation of the chin and lips is left in the rubbery mold.  This will be eventually be filled with plaster to re-create the student's mouth gesture.

But first, the students will need to add clay to the alginate mold and begin to the shape the mold for the sculptural stand. They have three hours before the alginate will begin to shrink and harden, so they will need to work quickly to complete their mold.

It's important to even out and work the clay until your mold is exactly what you want -- the plaster will pick up any imperfections that are left on the clay or the alginate.

Below Roland show the students how to create a perfect rectangular shape by adding boards around the mold. All the cracks must be well sealed so the plaster won't leak through.

This mold is almost ready to go but it still needs a recess where the cup will fit.  Jeremy demontrates how to create a positive mold by pressing a piece of clay inside the edges of the cup.

Next, this mold for the cup holder must be positioned on the base mold.

After the clay mold is sealed and ready, it's time to mix the plaster.

Students will have to estimate the amount of water that will create a good size plaster base and then add plaster using what's called "the floating island" technique. They will add just enough plaster to form a volcano-like shape just below the surface of the water.

Once the ratio is set, you need to mix it with your hand for three minutes, getting rid of all clumps. Then after you have removed any bubbles in the mix, you have two minutes to pour the plaster into the mold before it begins to set.

The plaster will take 20 minutes to fully harden in the mold.

Next comes the best part of the process: removing the mold to see the final sculpture.

Then you'll need to wash off any excess clay.

Finally, the sculpture will be fine-tuned and any imperfections corrected using an array of tools for scraping, shaping and sanding. 

And, voila, the perfect coffee cup holder. No more rings on the table, no more wondering-- "uh, is that my mug?" 

Not bad, for a crash course. I especially like these below which unfortunately, are completely useless for drinking coffee...

The Art and Design Halloween Party will return for a terrifying and triumphant second year. This is a costume party, so dig out your vampire fangs and 80s prom dresses; it's going to be fun. 

And because everyone loves a good behind the scenes sneak peak - here are the posters featuring the portrait work of Megan LaCroix with help from Arlene Zhao, Mike Wang and the Society for Art Students (SAS). 

A little face paint, a lot of creativity and a nice photo studio go a long way. 

Spotted in the hall, this:

Performance art? A pre-Halloween party with an all-white, modular theme?

No, these were students TMP (Tools, Materials and Processes) presenting their first efforts in making a wearable sculpture out of both paper and fibers. 

Specifically, the assignment was this:

Using only the provided materials (paper and glue, fabric and thread), create a wearable sculpture that is situated around your head (or head and shoulders). Your sculpture will have a function that you will determine (whimsical/utilitarian, poetic/practical, etc.)

So Kristen Leydig, above, developed this boxed headress contraption to help capture the outflow of ideas that occur in the process of brainstorming.

Instructors Matt Shlian and Beth Hay came up with the assignment for TMP, a core course that requires students to explore a variety of media in a short amount of time. This assignment was designed to introduce students to the basic technique of taking flat materials – in this case, fibers and papers – and exploring their three dimensional potential. Sounds great, except the students would have two weeks to both learn the basics of these materials and construct their project. Then they would move on to other TMP sections in wood, metals, plastics and clay.

First, Matt Shlian, a master paper engineer himself, shows the students some basic techniques for folding, cutting, twisting and shaping paper. (If you've ever seen Matt's work you know this goes way beyond making a pirate hat out of your restaurant placemat.)

Beth Hay guides the projects in the fibers studios.

Students then presented their pieces to the class for a group critique.

Below Sonia Tagari created this 'hat' that spoke to the blinding effects of one's personal fears and how they often translate to the outside world.

Below David Chang created a very useful device to combat what his mother calls a 'chronic forgetfulness'. He created a note-taking device that keeps the notes literally in front of his eyes at all times. A convenient pouch for the pen and the notes are located at the side and back.

Shannon Moss created this representation of her brain and its thought waves. She feels the weight of her thoughts and emotions mainly in the shoulder area.

Below Caroline Marin created about 70 hands, some stuffed fabric and some paper, to address fear – when something scares you, you can cover your face with this handy "hand-mask".

Below Viviana Pernot's piece mimics a fungus and its growth pattern. In this case, the growth is positive, open and receptive as she starts her first year of college, independent and separated from her family.

Virginia Lozano pulled off an amazing feat in this mechanically complicated creation complete with wheels made entirely of paper. Virginia is a dual major in...yes, Mechanical Engineering. What a beautiful combo.

Next, these TMP will be off to the ceramics studio where they will work with clay and mold-making techniques. Stay tuned.

Laura Gillmore

          Consider Magazine has some serious history, dating back all the way to 1983 (which is more than most currently enrolled college students date back). The magazine offers what they call “Free discussion from campus newsstands every Wednesday.”

          Discussion indeed.

          Consider takes your classic point-counterpoint article and pumps it up - Big Time. Each issue focuses on a single topic and presents 2+ opposing viewpoints to shed light on any number of significant, controversial and contemporary issues. In recent issues the staff of Consider has tackled Global Climate Change, Gay Marriage, Legal Pornography, Revitalizing Detroit, The Smoking Ban and many more.

           The talented art staff is led by Art Director (and current A&D Senior) Meirav Gebler. Here are some of the recent covers contributed by a few very skilled A&D students:

Laura Gillmore

Benjamin English

Meirav Gebler

Jill Brandwein 

Laura Gillmore

Rose Jaffe and Benjamin English

Rose Jaffe

consideronline.org

         So many of these you may have seen floating around the School of Art and Design and greater North Campus area. I can't help but give some major credit to Mike Wang, James Reich and Arlene Zhao for making some pretty funny posters to promote the UM Student Chapter of AIGA (American Institute of Graphic Arts).  There really is never an excuse for poorly designed poster when you have this many graphic design students running around. 

From positive ideas for Detroit to crazy ideas in Ann Arbor, TEDxArb brings a new layer to the conversation we all need to be having. 

One of the major buzzwords around Art & Design Schools nationally in the last few years has been 'Sustainability'.

Sustainable Design, Sustainable Materials, the whole shebang is now inexorably linked with design education in universities.  In light of the success of TEDx Events all over the state of Michigan (over ten coming this year!) we now have a platform for the ideas worth spreading about sustainability at U of M. A like-minded group of students has banned together once again to pull off an impressive feat - a sustainability driven TEDx Conference to be held in the Nichols Arboretum. 

Our own A&D students have been turning out some impressive stuff to support the cause and prove once again the importance of Design Thinking when you're trying to save the world (or at least recycle your solo cups). 

More Info : http://tedxarb.com/

    One of the most exciting parts of being a Senior in Art and Design is obviously the all-important and fabled senior integrated project studio (I.P.). IP for those of you new to the lingo, is a year long intensive process where blood, sweat and caffeine (hopefully not tears – but sometimes tears) fuel a project that is the culmination of each of our varied paths through the school of A&D at Michigan.

     In order to facilitate the creation of whatever project each student decides, every single member of the senior class – you guessed it – gets an IP studio of their own. My favorite part of this project (of which I have only had the pleasure of experiencing for a mere three weeks) is watching each studio evolve into the first project for each of the seniors.

     My own studio has become possibly as micromanaged as possible, drawing detailed scaled sketches of floor plans and picking out paint colors since practically freshman year. Here is a small selection of the IP studios and the seniors that will create in them:

Dylan Box, Sustainable Design

Andrew Hainen, Digital Design

Ryan Thurmer, Object Design

Jenny Forrest, Graphic Design

Lily Porter, Painting

Tasha Miller, Metal

Teshia Treuhaft, Furniture Design

Stay tuned for how these 70+ projects develop and come to fruition over the next 8 months.