SchoolArts Magazine

March 2018

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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Page 38 of 66

MARCH 2018 SchoolArts 34 34 MARCH 2018 SchoolArts to the workspace, tools, and palettes in Adobe Illustrator, which none of them had ever used before. The Answer Is Andrea Despite my enthusiasm, I was strug- gling with an idea and began trolling the internet out of frustration. That's when I accidentally came across the work of Andrea Minini. There before me were illustrations using moiré patterns to create images of slightly abstracted animals in black and white. I thought, this is it, but I had to fig - ure out a clever way to translate the mathematical and scientific intrica - cies of creating moiré patterns into something manageable for a begin - ner design student. I experimented in Illustrator and came up with a method to imitate the behavior of a moiré pat - tern by employing the paintbrush and blend tool in Illustrator. Moiré Research and Discussion I began the lesson by having students form pairs. Each team searched for moiré patterns on the internet and was then responsible for sharing their discovery and expressing what they liked about their selection. When students were done present - ing, I folded into the discussion infor- mation about Op art and how moiré patterns played a role in that particu - lar art movement. The next day, I showed a short video on how moiré patterns are cre - ated. Afterward, we discussed how we would use moiré patterns and Andrea Minini's work as inspiration for our design project. Locating and Translating an Image For an introductory class on com- puter graphics, I like to provide a written tutorial with images to sup - plement each demonstration. With that in hand, students' first task was to locate a free-to-use photographic image of an animal they wanted to use for their project. Their selec - tion needed to be a front view and include the entire head. Once students located a satisfac - tory image, they needed to trans- fer it into Illustrator. I instructed students to use the photograph as a guide to construct their animal heads. I had each student analyze the different sections of the animal's face. Having them work in small sec - Students were m stified that a humble technique could produce such a dramatic effect. Javier Vias.

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