I gave my student led seminar this week. It was a great experience as I was challenged to translate and create lessons from my own methodology and outlook, which meant I gained better understanding of the interconnectivity between my interests, and also how to confidentially present.
I learned a lot about pacing myself, and how to weave ideas into a journey for others to build creative confidence, which was an aim for the this session and in my work generally.

From feedback I learned that the class enjoyed the variety of activities and how they felt calm and immersed taking part, which was my aim. One person noted that they enjoyed progressing from more personal and mindful activites, into more actively creative, collaborative and practical activities. With the former setting them up tomake the most of the latter.

Again I was pleased with this because I would say that is how I’ve tried to build my own methodology, in particular looking back at the timed workshops I’ve used myself to help me generate work.

Another of my aims was to instill the notions of care into mine and other practices and so alongside teaching mindful, soothing design techniques, I wanted to include teaching about circular design as this makes up an important part of my practice. I was encouraging people to consider and gather materials from their environment to make with, it would feel short sighted not to offer up how these materials might be used responsibly, so they could still be recycled again afterwards, and so I included information on glueless binding and monomateriality, which are key to aiding with recycling and reuse of materials.

I gave the class small bit of prep for the class, which I think worked well.

I’ve included my script for the session here alongside the slides below.

My aims for this session are about reframing things we might consider negative as unlikely, yet effective inspirations and tools for design. 

I have used these methods myself to help me navigate making and design during this pandemic which has been particularly restrictive context to work in creatively. 

From lack of resources and facilities, to spending more time isolated with increased anxiety, to the distractions of the sometimes scary and ever changing situation. 

In the session there are 5 sections, which comprise of  a few short excerises which span drawing and making. We will be defying the restrictions we face behind our computer screens and collaborating. We’ll be using abstract drawings techniques and glueless model making techniques, Which I’m hoping you can take forward as fun and creative ways to reframe restriction, whilst hopefully connecting as best we can over the screen. 

Exercise 1 - Not glossing over it

 Im not a fan of glossing over problems and think turning a negative into a positive is easier when we aknowledge and share Our dispointment. Call a spade a spade, and then you can use it to dig the garden out ready to sew seeds. 

So  first of all in the spirit of restriction I thought our first excerise could be in honour of a particular writing exercise popularised by Scott.F Fitzegrald.

Contributers to the book ‘Not quite what I’m planning’ were asked to use a restricted 6 words to describe their life in one sentence. Many managed to flourish and emote quite a lot even with this restriction. 

For the first task I wanted to ask for everyone to try this technqiue to summarise their life after the unexpected lockdown in January, until now. 

Some examples from the book you can see here, along with my own.  You can add anonymously if you prefer. 

Im also going to be restrictive on timing and give you 3 minutes from the gong. If and when you are ready to share please add them to the miro board on the coloured post its.  Any questions?

Discuss.

Exercise 2 - Inside space


Its obvious that it was quite a shock and we were all taken aback by the restrictions and its illuminating reading everyones brief accounts. 

Like most across the world we’ve spent a lot of time inside, in the second task will also be timed, and this time you will need paper and a pen.

I want you to think about the spaces you are restricted to inside at the moment, and draw the outline of the spaces you inhabit and how they are all connected. 

Perhaps visualize yourself walking round,  touching the wall around of the perimeter. Thinking about how rooms connect, and corridors you inhabit. Anything that is your inside domain. 

There is no wrong or right and I’d like you do this with your eyes shut and using a continuous line. It about your memory rather than being correct. There might be different floors, or a single room. 

Think about how this place has contained you, but also protected you. 

I will time you for 3 minutes.  At the gong sound you can finish and I’d like you to take a photo as square as possible from above and then post it to the miro board on the squares below and add your name 

Excerise 3 - outside space

During lock down restriction  we had to the outside and nature, which are vital for goo dementia health. I feel like this year collectively there a new appreciation for the outside, perhaps because absence made th hear grow fonder it was limited, but also because we had the time to explore, and nothing better to do :)  this year has definitely changed the way I appreciate and experience the outside. 

Task – using a plain page and pen, I want you to think about the walk you took outside and from the seat you are sat in now and back again.  Close your eyes and imagine you are going on that walk, draw the route you took, remembering what you noticed,  how it felt. Visualise yourself breathing in the cool air once you step outside and times you were able to connect to nature, including other people. Imagine al your course mates leaving for a walk at the same time now :) ) 

 Play sounds track of bird and outside noise. 

I will time you for 5 minutes starting now. 

When you hear the gong please take a photo and share you image to the miro 

Exercise 4 - Seeking the joy  

Think of 3 things you are grateful for today because of the restrictions and write them down 

Here’s my examples :

I’m spending time with you all today,  but I’m also in pjs. 

I can use my favourite mug

I don’t have to carry wood to uni. 

You can share those if you want - or just write them down for yourself 

You’ll see you name next to one of 4 images and here ive combined your depictions of your restrictions and connected them in groups. 

So I want you to gather by your spot and think about about how the space you were in held you, and protected you during this time. Think about all the rainstorms and sweaty tube journeys you missed, and think of the times when you were able to step outside and hear the same birds everyone else could. I’m going to set the time again this time for just 2 minutes whilst observe and sketch out a smiling faces from the jumble of lines. 

And then take 4 minutes to make you own art work from this frame work. Add in photos, colours and have in mind the freedom you felt on your walk. 

Exercise 5 - Positive restrictions

So in the second half of this session I wanted to look at how we might take this optimistic mind set and apply it to reframing waste

In my own practice I've actually found particular inspiration in certain restrictions. I've commited to developing a circular model, where waste is reconsidered and certain techniques are utilised to make it easier to reuse, recycle and repair. 

One of the key problems with products is the combination of materials which means they might be harder or impossible to recycle. I’ve been exploring ways of attaching which reject the use of glue. Although it does make my life harder Ive chosen to re frame this restriction into an inspiration for my project. Below are some examples of different techniques, and some examples of how other designers have used these techniques. 

Exercise 6 - Make like Picasso

Artists and designers have dealt with constraints in the past.

During the Second World War, Picasso lived in Paris and was in hiding, unable to promote or exhibit his work, having been classed as a ‘degenerate’ by the Nazi’s.  During that time he was ‘lucky’ enough to be able to visit his studio, although he had to black out the windows.  Although he was severely restricted, as supplies of art materials dwindled, he made very small paper works, such as this mask made from a napkin.