101 Things to Learn in Art School

101 Things to Learn in Art School

by Kit White

“Artists assimilate a whole range of psychological, aesthetic, political, and emotional data points, and they then make forms to organize and give meaning to them. That takes skill and practice, working in tandem with intelligence and keen observation… Basic form-giving skills help the student make the bridge between thought and embodiment.”

Kit White is an associate professor in the MFA program at Pratt Institute. Here’s a sample of his insights:

“Art is continuing a dialogue that stretches back through thousands of years. What you make is your contribution to that dialogue. Therefore, be conscious of what has come before you and the conversation that surrounds you. Try not to repeat what has already been said. Study art history and stay alert to the dialogue of your moment.”

“Composition is the foundation of image making. It is the spatial relationships between all of the parts in an image. Whether a drawing, a painting, a sculpture, a photograph, a video, or an installation, how a thing is composed determines its look, its feel, and its meaning. Compositional variation, like musical tunes, is limitless.”

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101 Things I Learned in Film School

101 Things I Learned in Film School

by Neil Landau with Matthew Frederick

“In my… twenty years of teaching, screenwriting, and filmmaking, I have been continually struck by how the creative process of filmmaking is at once painstakingly deliberate and fortuitously experimental,” writes Neil Landau, who teaches at the UCLA School of Theater, Film, and Television.

Creating a film or television program entails a variety of skills including budgeting, screenwriting, directing, acting, and numerous technical proficiencies. Here’s a sampling of the insights shared by the author.

Film is a director’s medium; television is a writer’s medium. A movie is a one-of-a-kind undertaking: The production team and actors come together for several weeks or months to create a unique world that disappears upon the completion of filming. A strong director is essential in defining this world—form its artistic details to its broad nuances, script approval to casting, set design to special effects, and lighting and equipment to the overall visual style. A successful television series, by comparison, is long running, and production becomes rather standardized during its first season. The greatest challenge becomes the generation of new material each week, giving the gifted writer a proportionately greater opportunity to shine.”

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101 Things I Learned in Fashion School

101 Things I Learned in Fashion School

by Alfredo Cabrera with Matthew Frederick

“In my years of teaching, I have found that the greater obstacle… is not the acquiring of technical proficiency… but in accepting the need to design for real people… It took me years as a working designer to realize the importance of identifying a real living customer and recognizing what he or she will and won’t wear. Far from being anti-creative, it was for me the beginning of true creativity. For what is creativity if it isn’t to take something existing in one’s head and give it relevance in the real world?”

Alfredo Cabrera has taught and critiqued at Parsons The New School for Design, Fashion Institute of Technology, and Pratt Institute. Here’s a sampling of the insights he shares in the book.

“Simple clothes aren’t simple to design. When superfluous design elements are eliminated from a garment, more subtle considerations—proportion, line, fit—are magnified. This calls for a refined understanding of anatomy (e.g. how the neckline sits in relation to the clavicle), geometry, balance, positive and negative space, and the harmony of parts to whole.”

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101 Things I Learned in Architecture School

101 Things I Learned in Architecture School

by Matthew Frederick

Matthew Frederick presents 101 concepts in his “primer of architectural literacy.” Here is a sampling of his insights.

“Our experience of an architectural space is strongly influenced by how we arrive in it. A tall, bright space will feel taller and brighter if counterpointed by a low-ceilinged, softly lit space. A monumental or sacred space will feel more significant when placed at the end of a sequence of lesser spaces. A room with south-facing windows will be more strongly experienced after one passes through a series or north-facing spaces.”

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101 Things I Learned in Engineering School

101 Things I Learned in Engineering School

by John Kuprenas with Matthew Frederick

Engineering involves the application of mathematics, physics, and chemistry, but “the heart of engineering isn’t calculation; it’s problem solving,” writes John Kuprenas, a civil engineer. Here is a sampling of his insights.

“Accuracy is the absence of error; precision is the level of detail. Effective problem solving requires always be accurate, but being only as precise as is helpful at a given stage of problem solving. Early in the problem solving process, accurate but imprecise methods, rather than very exact methods, will allow consideration of all reasonable approaches and minimize the tracking of needlessly detailed data.”

“There’s always a trade-off. Lightness versus strength, response time versus noise, quality versus cost, responsive handling versus soft ride, speed of measurement versus accuracy of measurement, design time versus design quality… It is impossible to maximize the response to every design consideration. Good design is not maximization of every response nor even compromise among them; it’s optimization among alternatives.”

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101 Things I Learned in Business School

101 Things I Learned in Business School

by Michael W. Preis and Matthew Frederick

The study of business spans “such diverse disciplines as accounting, communications, economics, finance, leadership, management, marketing, operations… and strategy.” This book provides a thumbnail overview of variety of such topics. Here’s a sample of ten items covered in the book.

Micromanagement. “Telling others exactly how to do their work takes away their initiative, but giving them freedom to shape their own work allows them to become creative and to grow personally invested in the endeavor.” Managers should define the needed result on two levels: the general values (e.g. “make sure the product is fun to use”) and the specific requirements (e.g. “the product must weigh less than 13 ounces, it can’t be orange, the power switch has to be on the right, and all design work must be completed within exactly three months.”). Continue reading