![]() ![]() When we talk about commonly used building materials, for example, I used to have a little box of all different materials that the students could actually touch and look at, so that when we're talking about the properties of steel, or aluminum, versus wood, or certain types of fabrics, they can actually hold and look at materials, as opposed to looking at pictures of them on a screen. The problem with the pandemic is that the balance got way off in terms of the capacity to do certain things that we do in real life. In our class, the physical product at the end is a three dimensional model with some digital materials surrounding it, like a digital rendering.Įven before the pandemic, we were always moving between 2D and 3D, between the digital and the physical. The end product of a real world set design is a show on stage that has a physical set with actors. ![]() It's a studio course where students do visual research, analyze texts, sketch, build models, and usually do some drafting. The course I taught in the Fall 2020 semester is called Set Design it's an introduction to designing for the stage. But as the New Yorker cover that came out recently showed us, there’s a frame, and then there's the reality, and we're not, when we’re stuck in a digital world, dealing with the reality. ![]() The book is all about really seeing and understanding objects around us, working with your hands… all these things that of course we're still doing since we have surroundings. It was funny in the context of the Fall 2020 semester that my book Fixation was published in September, which is all about physical objects. A Miro board used in Professor Goldmark's Fall 2020 course, Set Design. ![]()
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