critical thinking and the visual arts
“Don’t brush your hair in the kitchen”
“smile, even if you don’t mean it”
“you’re wearing that?”
“Always
sit with your knees together”
“close the door”
“close the door”
“Sit up straight”
“Don’t talk with you mouth full”
previous understanding of critical thinking
old definition
critical thinking = criticism
modern definition
critical thinking = a comprehensive intellectual process
It is important to understand
Art is not something that just happens!
OK . . . . Sometimes it does “just happen”
Artist = Andrea Nechita
Age =
10
Lithograph = selling for $11,020.00
Critical thinking skills = unknown
The making of art or design provides an excellent
Usually. . .
The making of art or design requires the opportunity to witness,
identify, and demonstrate engagement in critical thinking.
Artists and designers are seldom recognized for having 1600 on SAT scores.
Those scores reflect verbal and math skills.
And the ability to think in L O G I C A L terms
verbal and math skills are necessary thinking skills for making art
but RIGHT brain thinking skills are not reflected in SAT scores
The more invisible thinking skills . .
Such as the ability to question questions,
Such as the ability to question broadly, to think on
multiple simultaneous levels with little predictability or
testability,
Such as the ability to question broadly, to think on
multiple simultaneous levels with less predictability and
testability, to see unexpected relationships, to
recognize an innovative methodology, to make
something work better, to be inventive, to take risks, to
make conscious that which is often unconscious, to be
able to create and assess that which is created, and to
respond physically to evolving human desires for
change, revolution, color, form, expression, structure,
etc, etc, etc.
Such as the ability to question broadly, to think on
multiple simultaneous levels with less predictability and
testability, to see unexpected relationships, to
to make something work better, to be inventive, to take
risks, to
make conscious that which is often unconscious, to be
able to create and assess that which is created, and to
respond physically to evolving human desires for
change, revolution, color, form, expression, structure,
etc, etc, etc.
Such as the ability to question broadly, to think on
multiple simultaneous levels with less predictability and
testability, to see unexpected relationships, to
recognize an innovative methodology, to make
something to visualize, to be inventive, to take risks, to
make conscious that which is often unconscious, to be
able to create and assess that which is created, and to
respond physically to evolving human desires for
change, revolution, color, form, expression, structure,
etc, etc, etc.
Such as the ability to question broadly, to think on
multiple simultaneous levels with less predictability and
testability, to see unexpected relationships, to
recognize an innovative methodology, to make
something work better, to be inventive, to take risks,
to make conscious that which is often unconscious,
to be able to create and assess that which is created,
and
to respond physically to evolving human desires for
change, revolution, color, form, expression, structure,
etc, etc, etc.
Such as the ability to question broadly, to think on
multiple simultaneous levels with less predictability and
testability, to see unexpected relationships, to
recognize an innovative methodology, to make
something work better, to be inventive, to take risks,
to make conscious that which is often unconscious,
to be able to create and assess at the same time and
to respond physically to evolving human desires for
change, revolution, color, form, expression, structure,
etc, etc, etc.
Such as the ability to question broadly, to think on
multiple simultaneous levels with less predictability and
testability, to see unexpected relationships, to
recognize an innovative methodology, to make
something work better, to be inventive, to take risks, to
make conscious that which is often unconscious, to be
able to create and assess that which is
and to respond physically to desire for
change, revolution, color, form, expression, structure,
Such as the ability to question broadly, to think on
multiple simultaneous levels with less predictability and
testability, to see unexpected relationships, to
recognize an innovative methodology, to make
something work better, to be inventive, to take risks, to
make conscious that which is often unconscious, to be
able to create and assess that which is
etc, etc, etc.
Artists and Designers must be willing to take a
position, or defend a position,, conduct appropriate
research, and
“live with” the ramifications, and consequences of
their visible expression on very complex issues.
They must be willing and able to take a position, or
defend a position, to conduct appropriate research, and
“live with” the ramifications, and consequences of
their visible expression
They must be willing and able to take a position, or
defend a position, conduct appropriate research, and
“live with” the ramifications, and consequences of
their visible expression.
art and design require intellectual courage
as well as intellectual autonomy.
It's
Offensive!
Rudyard Kipling wrote:
I keep six honest serving-men
(They teach me all I need to know)
Their names are:
What?
Why?
When?
How?
Where?
Who?
Those are critical thinking questions designers
must solve in order to develop a creative (successful)
solution to a problem.
Artists have both public and critical ownership of their ideas,
and the critical ability to recognize and
analyze the intellectual success of their
failures.
Artists must: P R O B L E M S O L V E !
Artists or designers uses critical thinking skills
to communicate with your sub-conscious thoughts.
They must anticipate the audience,
They must know their frustrations, fears, politics etc.
And communicate with (through) them visually.
Artists and Designers use their medium to express a point of view
The general public thinks creative ideas float around in talented heads.
And pop out whenever needed
This is what we call an ah ha moment
But ha
ha,
it only happens after the following . . .
1. Thinking to define the problem
2. Thinking to understand the parameters
3. Thinking to grasp the budget
4. Thinking to understand the time frame
5. Thinking to recognize the load limit (if applicable)
6. Thinking to conceptualize the destination
7. Thinking to understand and imagine the use
8. Thinking to define the audience
9. Thinking to visualize the final location/ application
10. Thinking to recognize the proportion / size / scale
11. Thinking to understand the politics of the environment
12. Thinking to know the historical context
Questions must be asked such as:
What was used in the past? What is the audience familiar with?
Why was that form used?
What impacted historical expression / design in the past?
What rules can be broken?
What would a new solution look like?
Is that solution new for the sake of being new
or new for the sake of improvement?
etc, etc, etc
Questions must be asked such as:
What was used in the past? What is the audience familiar with?
Why was that form used?
What impacted historical expression / design in the past?
What rules can be broken?
What would a new solution look like?
Is that solution new for the sake of being new
or new for the sake of improvement?
etc, etc, etc
Questions must be asked such as:
What was used in the past? What is the audience familiar with?
Why was that form used?
What impacted historical expression / design in the past?
What rules can be broken?
What would a new solution look like?
Is that solution new for the sake of being new
or new for the sake of improvement?
etc, etc, etc
Questions must be asked such as:
What was used in the past? What is the audience familiar with?
Why was that form used?
What impacted historical expression / design in the past?
What rules can be broken?
What would a new solution look like?
Is that solution new for the sake of being new
or new for the sake of improvement?
etc, etc, etc
Questions must be asked such as:
What was used in the past? What is the audience familiar with?
Why was that form used?
What impacted historical expression / design in the past?
What rules can be broken?
What would a new solution look like?
Is that solution new for the sake of being new
or new for the sake of improvement?
etc, etc, etc
Questions must be asked such as:
What was used in the past? What is the audience familiar with?
Why was that form used?
What impacted historical expression / design in the past?
What rules can be broken?
What would a new solution look like?
Is that solution new for the sake of being new
or new for the sake of improvement?
etc, etc, etc
Questions must be asked such as:
What was used in the past? What is the audience familiar with?
Why was that form used?
What impacted historical expression / design in the past?
What rules can be broken?
What would a new solution look like?
Is that solution new for the sake of being new
or new for the sake of improvement?
etc, etc, etc
Questions must be asked such as:
What was used in the past? What is the audience familiar with?
Why was that form used?
What impacted historical expression / design in the past?
What rules can be broken?
What would a new solution look like?
Is that solution new for the sake of being new
or new for the sake of improvement?
etc, etc, etc
What does a Designer do?
He/She orchestrates
the conceptual process of
combining graphic materials:
words
pictures
other graphic materials
To construct a visible communication gestalt
Gestalt =
The whole is greater than the sum of its parts
for example:
These dots have no meaning or content beyond the
phenomenon of twelve dots randomly placed
By contrast, these dots have been consciously
structured into a visual configuration which
has meaning
In a sense, the letter H is not really present
but the human eye perceives the dots
and the human mind connects them into a recognizable pattern
- the structure of a letterform -
Understanding that takes some critical thinking skills!
what can design do?
illustrate
communicate
SELL
inform
entertain
organize
explain
direct
enlighten
demonstrate
motivate
excite
invite
inspire
instruct
clarify
facilitate
report
promote
educate
simplify
identify
WARN
it is the art of critically thinking and communication problem–solving!
1.
A designer must organize information
2.
A designer creates a visual structure
3.
Which conveys a message
Usually on behalf of a sponsor or client
4.
A designer tries to aesthetically and uniquely
solve a problem
How far does the designer let self expression override
or influence organization, clarity or intended message?
Answer: It depends on the client or the situation
Design Process
 Define – collect information, research
 Analyze – form hierarchies, categorize, importance, develop
message, IDENTIFY CONSTRAINTS
 Ideate – brainstorming, thumbnails, CREATIVITY
 Incubate – let problem/solution cook for a proscribed period
 Select – make a decision and take a course of action to:
 Implement – produce solution, if it meets with design approval
 Evaluate – receiver’s perception/critique
 The above process is and should be continuous
Design Process
 Define – collect information, research
 Analyze – form hierarchies, categorize, importance, develop
message, IDENTIFY CONSTRAINTS
 Ideate – brainstorming, thumbnails, CREATIVITY
 Incubate – let problem/solution cook for a proscribed period
 Select – make a decision and take a course of action to:
 Implement – produce solution, if it meets with design approval
 Evaluate – receiver’s perception/critique
 The above process is and should be continuous
Design Process
 Define – collect information, research
 Analyze – form hierarchies, categorize, importance, develop
message, IDENTIFY CONSTRAINTS
 Ideate – brainstorming, thumbnails, CREATIVITY
 Incubate – let problem/solution cook for a proscribed period
 Select – make a decision and take a course of action to:
 Implement – produce solution, if it meets with design approval
 Evaluate – receiver’s perception/critique
 The above process is and should be continuous
Design Process
 Define – collect information, research
 Analyze – form hierarchies, categorize, importance, develop
message, IDENTIFY CONSTRAINTS
 Ideate – brainstorming, thumbnails, CREATIVITY
 Incubate – let problem/solution cook for a proscribed period
 Select – make a decision and take a course of action to:
 Implement – produce solution, if it meets with design approval
 Evaluate – receiver’s perception/critique
 The above process is and should be continuous
Design Process
 Define – collect information, research
 Analyze – form hierarchies, categorize, importance, develop
message, IDENTIFY CONSTRAINTS
 Ideate – brainstorming, thumbnails, CREATIVITY
 Incubate – let problem/solution cook for a proscribed period
 Select – make a decision and take a course of action to:
 Implement – produce solution, if it meets with design approval
 Evaluate – receiver’s perception/critique
 The above process is and should be continuous
Design Process
 Define – collect information, research
 Analyze – form hierarchies, categorize, importance, develop
message, IDENTIFY CONSTRAINTS
 Ideate – brainstorming, thumbnails, CREATIVITY
 Incubate – let problem/solution cook for a proscribed period
 Select – make a decision and take a course of action to:
 Implement – produce solution, if it meets with design approval
 Evaluate – receiver’s perception/critique
 The above process is and should be continuous
Design Process
 Define – collect information, research
 Analyze – form hierarchies, categorize, importance, develop
message, IDENTIFY CONSTRAINTS
 Ideate – brainstorming, thumbnails, CREATIVITY
 Incubate – let problem/solution cook for a proscribed period
 Select – make a decision and take a course of action to:
 Implement – produce solution, if it meets with design approval
 Evaluate – receiver’s perception/critique
 The above process is and should be continuous
Design Process
 Define – collect information, research
 Analyze – form hierarchies, categorize, importance, develop
message, IDENTIFY CONSTRAINTS
 Ideate – brainstorming, thumbnails, CREATIVITY
 Incubate – let problem/solution cook for a proscribed period
 Select – make a decision and take a course of action to:
 Implement – produce solution, if it meets with design approval
 Evaluate – receiver’s perception/critique
The above
above process
process is
is and
and should
should be
be continuous
continuous
 The
?
critical thinking and creativity
Creative solutions to “the problem” incorporate
an element of unexpected surprise
Unexpected = generated by exaggeration
Unexpected = generated by juxtaposition / contradiction / substitution
Unexpected = generated by unusual personification
unexpected = generated by substitution
surprise innovation of elements / materials
Unexpected innovation resulting in entirely new concept
surprise = simplification and repetition of elements
surprise = contradiction of elements
unexpected = successful contradiction of forms
unexpected = substitution and contradiction
unexpected contradiction between form and material
ART fully engages the intellect
ART is neither frivolous nor easy.
The making of ART has significant
academic rigor involved.
ART is vital for developing critical thinking
skills in the well educated person
of the 21st century.
Creativity is a critical skill which can
NOT
be outsourced!
THANK YOU