Photography and pick up or work

Just a reminder...

Your seating design will be photographed tomorrow morning
(wednesday the 16th of June) at 9.30am.

Pick your work up from PA gallery, and bring it to studio level 1 pa building, once there, it will be photographed and you can then take your work home with you.

Mark break down

Esquisses 20%
Concepts: 10%
Design development/ including scale models: 10%
Folio/Documentation: 10%
Prototype: 40%
Design solution: 10%

We will be looking at how well your design responds to the following:-

Appropriate design for your café environment.
Portable, can be readily carried by one adult.
Seat one (1) person up to 150 kilograms
Economic use of material in production.
Cost effective to produce.
Easy to recycle (no glue or fixings)

Best of luck!

Furniture Design Presentation Times

All furniture to be delivered to Hd3d002 Gallery by 9am Sharp!

ARTHUR ABDOULLINE 9:30
ZALEA BARFORD 9:35
JOHN CALPO 9:40
ANGUS CARTER 9:45
WARANON CHAIYOT 9:50
CAMPBELL CHAMLEY 9:55
HAMISH COX 10:00
DAVID CZERNIAKOWSKI 10:05
SAMUEL DAVEY 10:10
JOHN GRANT 10:15
AARON HASTINGS 10:20
HELGA HELGA 10:25
YOGIE HO 10:30
CHRISTOPHER HOLFORD 10:35
HY-RAN KILIAN 10:40
MIN WHA KIM 10:45
KRISTINA KLEIN 10:50
EUN KO 10:55
PRICILLYA KUBERTU 11:00
HANSOL KWON 11:05
YAHYA ADISAPUTRO TIOSO 11:10
AMBROSIUS MICHAEL LAY 11:15
EUGENE LEE 11:20
HWEY WEN LEE 11:25
JULIAN LEE 11:30
PEI WEN LEE 11:35
BENYA LEESOMBUN 11:40
JOAN ELISA LIE 11:45
RAYMOND LIE 11:50
HUI WEN LIM 11:55
MATILDA LISTON 12:00

BREAK

NIPULI THANUJA LIYANAHEWAGE 1:00
SHUN LU 1:05
CHAD MCLEOD 1:10
JAMES MINGLIS 1:15
MUHAMAD ARIF BIN MOHAMED FEISAL 1:20
CHEUK YING ZITA MOK 1:25
MEGAT MUSLIM 1:30
JADE NETTLETON 1:35
BOON CHIN NG 1:40
THANH TRANG NGUYEN 1:45
AQILAH NORAL HADI 1:50
BRENTON OLDFIELD 1:55
MARGARET OOI 2:00
NATHAN ORTON 2:05
LIAM PETRIE-ALLBUTT 2:10
KENNETH PIT 2:15
RONNI RAIS 2:20
JAMES RICHARDS 2:25
ADIB SABET 2:30
FELISIA VINATA SANTOSO 2:35
JEROME SANTUICO 2:40
JAMES SARANTOS 2:45
STEPHANIE SARROS 2:50
AARON SAVVIDES 2:55
CAROLA SCHULTE ROSIER 3:00
JI YEI SEONG 3:05
LI SHI 3:10
DYLAN STRAW 3:15
MARK SULLIVAN 3:20
THANIYA THONGSUK 3:25
ALEXANDER LANCE 3:30
YUK FAI TSUI 3:35
MICHELLE VELAZQUEZ 3:40
HAYLEY WHITE 3:45
MAXIMILIAN AJI WIJOYOSENO 3:50
JONATHAN YAP 3:55
WANDI ZENG 4:00
ANDREW ZUNICA 4:05

Presentation Date Change

Dear Students,

Please note presentation date has changed to:-

Date: Friday 11th June
Time: 9am
Where: Hd3d002 Gallery

Look forward to seeing you all then!

Early birds

For all those students unable to present on the 9th of June, you will need to have your work signed off at reception and stored in the following room:-

PA317/PA318

Please make sure you have photographed your work to a high standard and that you include your A4 sketch book with your name inside.

Your online folio/blog must be completed by the 9th of June.

You will also need to leave a copy of your departure dates/ticket at reception.

Your name and student number MUST be clearly printed on the inside cover too!

Best of luck!

Problem DXF

Can the following students please see the workshop regarding you files and cutting the plywood.

Jerome Santuico

JulianLeeJoonHin

Professional Prototype

To present a professional prototype we recommend the following guidelines and tips to finish the wire and plywood:
-we suggest limiting the parts to black and/or white, or one colour to accentuate the form. If you are going to use a colour contrast it with black or white.

-wire should be cleaned, to remove wax and grease
-plywood should be sanded, and edges all softened to eliminate splintering and paint building up. One millimetre radius is preferable.


Wire powder coated
-should only be powder coated, if you are confident that the powder coater you outsource this to, will deliver on time.

-if powder coated, it is best to advise them where they will hang it from, as there is often a very small area left without any coating due to the hanger.

-black and white are the most common colours that powder coaters use, and often will give you the quickest turn around on your parts.
-there are many different whites and blacks available, so you should source a colour card to research what works best for your design. visit: http://www.dulux.com.au/specifier/our-brands/dulux-powder-coatings/powder-coatings-colour-%281%29/standard-colour-card-range

Wire spray painted
-you can paint your wire parts using spray paints purchased from hardware or model shops.
-wire should be rubbed down with scotchbrite pads and etch primed prior to the top coat, for a hard wearing result.
-you should practice on spare sample parts to refine your technique.
-if you are to spray in the open air, like a back yard, it is best to elevate your wire, and create a stand to make it easy to paint the wire at once. If it is complex to spray at once, then paint it in two sessions, but planning is essential.
-painting outdoors, it is best to paint down wind with the appropriate respiratory mask, goggles and gloves.
-be mindful of overspray
-follow the instructions on the can, to reduce the chance of a dry, dripping, or orange peeled coat.

Plywood painted
-you can paint your plywood parts using spray paints purchased from hardware or model shops.
-plywood should be sanded with a 360 grit sandpaper for a smooth finish, and then vacuumed (ideally with a brush head) to remove the sawdust. Alternatively you can use a sticky pad to remove the dust.
-plywood should ideally have an undercoat to seal the timber to make it easier to get an even coverage on your top coat.
-you should practice on spare sample parts to refine your technique.
-if you are to spray in the open air, like a back yard, it is best to elevate your plywood, and create a stand to make it easy to paint at once. If it is complex to spray at once, then paint it in two sessions, but planning is essential.
-painting outdoors, it is best to paint down wind with the appropriate respiratory mask, goggles and gloves.
-be mindful of overspray
-follow the instructions on the can, to reduce the chance of a dry, dripping, or orange peeled coat.
-think about what type of paint will work best with plywood, and how it will wear in its environment.
-think about drying times of different paints. Enamel can be great, but slow drying, and releases fumes, which if left indoor, could cause head aches. Acrylic may not be as hard wearing, but will be quicker drying and will release far less paint fumes.
-you can also brush or roll your paint on, which can reduce the paint fumes, but will be far more difficult to maintain an even coverage. (We don't want to see brush or overlapping marks.

Plywood waxed or oiled
-your plywood parts could be left in their natural colour, highlighting the natural grain.
-there are many different types of waxes and oils, we suggest you research what will give the best results.
-most waxes/oils are wiped on using a rag. Source the correct type of material to limit fluff being caught in timber splinters.
-some oils can be brushed on, and again should be tested.

-Always, read the instructions in full prior to even testing your sample parts. Plan ahead and don't rush, as a good finish will take time.

Final Presentation checklist

Date: Wednesday 9th June
Time: 9am
Where: Hd3d002 Gallery

Make sure you have completed the following work

Visual diary/sketch book
A4 sketch book must accompany you to every class to:-
• Demonstrate an exploration of ideas, inspiration and creativity
• Develop concepts through a visual medium
• Improve sketching ability

Folio/Blog
A multiple page folio blog including:-
• Title
• A record of all four esquisses undertaken (photographed on a white background)
• All development work including, sketches, photographs and any other medium to communicate your design process.
• Design refinement

Design documentation to include:-
• Perspective drawing
• Exploded view of assembly
• Layout drawing (scaled) + dxf file demonstrating an understanding of appropriate computer aided design for cnc production.

Prototype
A professionally finished 1:1 prototype demonstrating:-
• Strength (150 kg load test)
• Material synergy
• Assembly/disassembly

DXF

All students are to have their DXF loaded onto the workshop computer by the start of class this Wednesday.

Checklist

DXF saved as as R12 AUTOCAD.
The file has one overall dimension on one of the layout parts.
The drawing MUST be at a scale of 1:1.
All parts MUST fit onto a layout no bigger that 1200 x 2400mm.
All parts allow for a thickness of the plywood sheet(5mm).
Student name MUST be on your layout.

IF you have more than one cutting depth you drawing will require a legend, with the appropriate line colour.
Finally nominate if you wish your file to be laser cut or routed.
Routing will require additional setup, and will leave a small radius in tight corners.

Thanks

Justin and Daniel

Problem viewing other blogs

So that everyone can view your blog, can you please make sure that you follow your own blog. Then when we click on your profile picture, we can then click on your blog and view it.

laser cutting plywood

CNC routing machine

light wire forming machine

CNC wire forming machine

Presentations tips and techniques

Hello everyone,

We have concept presentations this coming Wednesday. There are a few things you should consider when preparing your concepts.

1:5 scaled models are the preferred medium, remember design is about communication.
Professionalism, always make sure your work is of the highest standard.
All work is to be posted onto your blog page as a landscape presentation.
Make sure you include the following information.
Perspective, side, front and top views.
Scale, never forget to give overall dimensions
Person, a simple person outline or 50% transparency to help communicate proportions.

Ahh don't forget your DXF quoted by three companies

You will also need to bring $100 to cover cost of materials for this semester, more details in this weeks class.

All the best

Justin and Daniel

Esquisse four - Material synergy

Background

Consider a balance between two materials, the interaction that harmonises the forces with a desired function i.e. seating.

Process

Draw the dynamic forces placed on a chair when ‘seating’. Consider how these forces travel through the object and where they concentrate.

Using only balsa wood and wire (no glue or fixings) you will create two scaled café chairs that demonstrate a balance between these two materials. Consider your previous esquisses and work your findings into your design.

Submission

At least two designs, that best illustrates your results. On your blog you are to briefly discuss the pros and cons of each design.

Esquisse three – ‘Form vs Function’

Background

Form vs Function is a common phrase with the birth of modernism, but is it as black and white? as form or function, or a comparison. Why not Function vs Form, or even Function with form.

Process

Using only balsa wood and wire (no glue or fixings) you will create two scaled mockups of a structure designed to hold the human body. You will need to brainstorm with two different approaches, one based on form and the other on function. Inspiration for the form could be natural or man made. There will of course be a crossover with the form and function, and that is to be expected and used to create a great design outcome.

Submission

At least two designs, that best illustrate your results. On your blog you are to briefly discuss the pros and cons of each design.

Esquisse two – ‘locking systems’

Background
A locking system is an important part of your intellectual property or design. It is your own
innovative mechanism to ‘lock’ and ensure it supports the required weight in your 1:1
prototype.You may need to reference basic engineering principles on load and force to
understand how to best use the material’s integral properties.

Process
Using only balsa wood and wire (no glue or fixings) identify the different forces that you will
need to consider when joining two parts together. After considering what types of forces we
need to allow for, create at least 3 locking systems that marry the wood and wire, that work
with the type of force allowed for.
Your locking system should work with the force and possibly get stronger with more load.
It should also be easily assembled and disassembled.

Submission
Multiple mockups from balsa wood and wire in the best scale that demonstrates your locking
system, considering the material to be used for the major project.

Esquisse one - Triangulation

Background

Understanding geometry and especially triangulation is essential to the design process. As furniture designers you need to develop your basic understanding of engineering. Many architects today use triangulation to achieve the complex geometry that is driven by computer aided design.

Process

Using only 1mm wire and balsa wood (no glue or fixings) construct and document the following:-

• A five (5) sided pyramid 100 x 100 x 100mm
• Calculate the correct geometry to ensure it remains within these dimensions. (use trigonometry or real world modelling)
• Consider the flat pattern of the pyramid and angles to cut.

Submission

You will be marked on this esquisse at the end of class. It is critical that you consider the accuracy of the dimensional form as well as the detail of the construction. You will also be required to submit an image of ­­­your outcome and post to your blog.

Material synergy – “The clothes peg project”

PROJECT BACKGROUND:

Materials that exist in synergy with one another have dynamic interactions that are intrinsic to furniture design. During this semester you will investigate the specific properties of two materials and through a process of experimentation learn how you can manipulate them to provide the desired function for your design.

An emphasis will be placed on the studio labs that will be run for the first six weeks to further your understanding of design and the creative process. You will be expected to document your development via sketches/writing and photography to a professional standard. This will form an ongoing record of your work and creative process and will be posted each week onto your online folio to be reviewed at the beginning of each class (see blogging method).

The café chair

The chair is one of the most overly designed objects, but for good reason, as it tests all the parameters of good design. You too will be designing a café chair that will test your ability to balance engineering principles and sculptural form. When considering the two supplied materials 6mm ply and mild steel rod, it is your design challenge to develop and demonstrate a synergistic relationship between these materials that responds to the function of your furniture piece.

PROJECT OBJECTIVES:

· explore the principles of furniture design

· examine the relationship between space and object.

· develop an understanding of furniture structural systems, furniture manufacture.

· demonstrate how design can add value to a common material through a defined process.

· Illustrate how design can produce products with a level of sustainability.

During the project students will:

· explore the principles of furniture design

· examine ergonomics issues and product interaction

· develop an understanding of furniture structural systems, furniture manufacture and assembly.

· examine the relationship between space and object.

· Understand and dissect complex form and geometry.

· Develop documentation of complex geometry.

· Produce CAD information for reproduction of geometric form.

· Understand the production process of cutting and forming wood and metal.

Major project

MAJOR PROJECT DESCRIPTION:

Produce a 1:1 prototype piece of furniture using only the supplied materials that can hold 150 kilograms and can be produced in batches of 50 – 1000 units economically and sustainably using a CNC cutting and bending process.

The final prototype design will demonstrate self assembly and dis-assembly for end of life (recycling).

Characteristics – your furniture must be:

· Portable, can be readily carried by one adult.

· Seat one (1) person up to 150 kilograms.

· Easy to self assemble.

· Economical use of material in production.

· Cost effective to produce.

· Easy to recycle.

· Finished to a professional standard.

User needs

Each space/environment will have varying social/cultural needs and requirements, make sure you identify these before you start designing. A good written or visual return brief will help you define these parameters.

Approach

Your final folio should demonstrate a rigorous process of attrition, where one idea is quickly developed before refining and generating new ideas and direction.

Blogging method

A blog should form a flowing record of entries, it is important to keep in mind that any assessable entries are submitted/uploaded in the following format:-

· Landscape A4

· JPEG image upload

· 1600 x 1130 pixels

Make sure to use the headings provided in the ‘project summary’ on your folio entries.

You should also save your work in landscape format as a PDF, this will allow you to compile a printable format for future purposes.

Supplied materials (costs to be covered by each student)

The two materials that you will be focusing on are wood (6mm plywood board) and metal (6mm mild steel rod). You will be provided with the following materials after your design has been approved at the end of week six to complete a full scale prototype. Each material has inherently different properties, the specific design of each component is relative to each part and is designed to work together in a synergestic manner as to serve a specific function.

“You will be expected to demonstrate a critical understanding of these two materials”.

· 4 x ( 1200 x 300 x 6mm plywood board)

· 5 x (1200 x 6mm mild steel rod)

Scale modelling

Working initially with scaled materials a series of studio projects will be delivered and completed during the allocated two hour period.

Major project

STAGE 1: Esquisses 1 – 4

You will complete four research exercises called esquisses, which will contribute to a larger body of knowledge for the design of your major project. Each esquisse will begin in class for the first four weeks, and appropriate working equipment/materials will need to accompany you to class for the first five weeks The following topics of exploration will be covered:

· Triangulation

· Locking systems

· Form vs function

· Material synergy

Required equipment

· A4 cutting mat

· Cutting blade

· Pointed small hand pliers and wire cutters

· 400mm Metal ruler

· Small modelling clamp

STAGE 2 - Concepts

From the information presented in class and during the lectures you will need to work through your ideas. You may choose to sketch these ideas onto paper, but it is expected that a thorough understanding of the medium is developed and a considered exploration is communicated throughout the concept stage.

Submission

You are expected to present at least three well considered concept designs.

A minimum of 10 pages/uploads of ideation should also be submitted for stage two using a variety of communication methods i.e. Sketching, CAD and photography.

STAGE 3 - Design development/ including scale models

At this stage you should be able to demonstrate a comprehensive understanding of the material and have a high standard of development pages communicating your thought process. All scale models should be fully documented with layout diagrams further illustrating you ideas and design.

Submission

The process of design development must be fully documented and show a progression form concept through to final design. This will be demonstrated in the folio submission.

A minimum of 10 pages/uploads should be submitted for stage three using a variety of communication methods i.e. sketching, CAD and photography of models etc.

Major Project

FINAL SUBMISSION

Visual diary/sketch book

A4 sketch book must accompany you to every class to:-

· Demonstrate an exploration of ideas, inspiration and creativity

· Develop concepts through a visual medium

· Improve sketching ability

Folio/Blog

A multiple page folio blog including:-

· Title

· A record of all four esquisses undertaken (photographed on a white background)

· All development work including, sketches, photographs and any other medium to communicate your design process.

· Design refinement

Design documentation to include:-

· Perspective drawing

· Exploded view of assembly

· Layout drawing (scaled) + dxf file demonstrating an understanding of appropriate computer aided design for cnc production.

Prototype

A professionally finished 1:1 prototype demonstrating:-

· Strength (150 kg load test)

· Material synergy

· Assembly/disassembly

Design solution

Final design must demonstrate consideration of manufacturing, ease of use and appropriateness for specified environment.

ASSESSMENT CRITERIA

Students are expected to complete all stages of the project to an acceptable standard. Assessment will be based on the student meeting all specified criteria, the quality of the design solution, the depth of the learning experience and acquisition of new skills, the technical solution to user-assembly and the social and environmental appropriateness of the design. Assessment breakdown is as follows:

§ Stage 1 Esquisses 1 – 4 : 20%

§ Stage 2 Concepts: 10%

§ Stage 3 Design development/ including scale models: 10%

§ Folio/Documentation: 10%

§ Prototype: 40%

§ Design solution: 10%

PROJECT BRIEF SUMMARY – major design requirements

1. Design demonstrates material synergy

2. User assembled and withstands the require 150kg load

3. Product can be easily disassembled for recycling

PROJECT PLAN

The project will be run in six stages. To ensure sufficient time to achieve project completion (including building a full size prototype) all intermediate submission dates must be met.

Project Summary:

	submission due
§ History research	week 2
§ Esquisse one	week 3
§ Esquisse two	week 4
§ Esquisse three	week 5
§ Esquisee four	week 6
§ Sketch concepts	week 7
§ Scale model concepts	week 8
§ Design review	week 10
§ Project folio inc. documentation	week 12
§ Prototype presentation	week 13

Note:

1. All submissions must the student’s own original work. Using copyrighted material represents failure to realise the brief and will result in a zero mark.

2. Designs should be well resolved and approved by your lecturer before you commence prototype construction. Workshop staff will expect to see evidence of design ‘sign-off’.

3. It is expected that designs will be innovative and original, be practical and appropriate to user and environment, and address manufacturing and economic constraints.

4. All submitted items must be clearly marked with student name, student number and subject title and code. Submissions outside scheduled classes must be to the level 2 reception desk.

Project 1 B4U - Furniture Design History

1. Project Background
As furniture designers it is your duty and responsibility to be aware of design history - in addition to creating
the future, you will also be the custodians of the past. It is essential to understand how design styles evolve with the introduction of new materials and processes and with changing social influences and fashion.
A database of ‘classics’ can lead you to a greater understanding of the design process and inspire ground breaking new design whilst avoiding clichéd or derivative design.

Project Aims:
- to explore the work of prominent twentieth century designers
- to look at the influence of design fashion on furniture aesthetics
- to examine the opportunities (and constraints) created by emerging technologies
- to examine the influence imparted on the design by selected materials
- to gain an insight into the evolution of furniture design

Research Project Objectives:
Research the work of six prominent furniture designers chosen from the following lists, and collect images
of at least five furniture designs from each designer. Choose only two designers from each list
Explain in approximately 100 words of text (per A3) how their work has been influenced by social, cultural
and fashion trends, emerging technologies and materials, etc. Note any similarities or otherwise between

B4U - Furniture Design History

- LIST A
- Alvar Aalto
- Marcel Breuer
- Eileen Gray
- Josef Hoffmann
- Arne Jacobsen
- Le Corbusier
- Charles Rennie Mackintosh
- Isamu Noguchi
- Charlotte Perriand
- Jean Prouve
- Gerrit Rietveld
- Michael Thonet
- Ludwig Mies van Der Rohe
- Hans Wegner
- LIST B
- Eero Aarnio
- Harry Bertoia
- Achille Castiglioni
- Joe Colombo
- Robin Day
- Charles and Ray Eames
- Grant Featherston
- Poul Kjaerholm
- Vico Magistretti
- George Nelson
- Verner Panton
- Pierre Paulin
- Eero Saarinen
- Sori Yanagi
- Michele De Lucchi
- LIST C
- Ron Arad
- Mario Bellini
- Fernado and Umberto Campana
- Tom Dixon
- Frank Gehry
- Shiro Kuramata
- Ross Lovegrove
- Jasper Morrison
- Marc Newson
- Karim Rashid
- Ettore Sottsass
- Philippe Starck
- Patricia Urquiola
- Marcel Wanders
- Antonio Citterio

B4U - Furniture Design History

NGV VISIT
To facilitate your research and understanding, week 1 classes will involve a visit ti the National Gallery of Victoria to view their 20th century furniture collection. During this visit is expected that you will complete sketches of at least three of the furniture pieces in the collection. These sketches can be in any appropriate medium and are to be posted to your research blog in week 2.

WEEK 2 SUBMISSION: due in studio– Wednesday 10 March

Presentation of at three posting pages (two designers per posting) showing research into design classics.
Research furniture by your chosen designers and collate images and text using Photoshop or Illustrator. Images are to be of high quality (not low-res) and such should be scanned from books and printed publications - do not research or source images exclusively from the internet.
It is suggested that you research the work of all the listed designers before choosing six on whom to focus.
Note:
- All images must be titled with the names of the designer and the furniture and the date of design.
eg. Sori Yanagi, ‘Butterfly’ stool, 1956.


Recommended Reading:
- 50 Tables: Innovations in Design and Materials, Mel Byers: Rotovision, 1997
- 50 Chairs, Mel Bryars: RotoVision: 1997
- 1000 Chairs, Charlotte and Peter Fiell: Taschen, 1997
- Modern Chairs, Charlotte and Peter Fiell: Taschen, 1993
- 100 Masterpieces from The Vitra Collection, ed. Alexander von Vegesack, Peter Dunas and Mathias Schwartz-Clauss: Vita Design Museum, 1996

B4U - Furniture Design History

Recommended Web Sites:
The following sites are good sources for initial research
Design within Reach: www.dwr.com
Design Boom (webzine): www.designboom.com
Vitra: http://www.vitra.com
B & B Italia: www.bebitalia.it
Fritz Hansen: www.fritzhansen.com
Marc Newson: www.marc-newson.com
Knoll: www.knoll.com
Bludot: www.bludot.com
Swedese: http://www.swedese.se/
Heltzer: http://www.heltzer.com/
Fiam Italia: http://www.fiamitalia.it
Magis: www.magisdesign.com.
Capellini: www.cappellini.it
Stokke: www.stokke.com
Draide: www.driade.com
Thorsten van Elten: http://www.thorstenvanelten.com/
Edra: http://www.edra.com
Frame magazine: http://www.framemag.com/
Totem: www.totemdesign.com
Kartell: http://www.kartell.it
Moroso: http://eventi.moroso.it

Blogging

As part of semester one, Furniture Design, you are expected to set up a web log (blog) that will be used as a part of a social media, discussion board and folio. This is intended to help encourage ‘thinking’ and the exploration of ideas related to this subject and specifically to the project "Material Synergy".

Through the online environment you will also learn about peer review, the process of subjecting your work, research and ideas to the scrutiny of others. It is via this dynamic and engaging network that the parameters of the classroom can be vibrant and innovative.

As your blog will form part of your final semester folio and will be assessed, it is important that you develop this on a weekly basis. Responding to the challenges set in class will help contribute to a greater body of knowledge.

Each week the set project will appear on the class blog, feel free to make appropriate comments that may help further the class room discussion. All work will be presented as discussion groups using the room IT facilities, you are expected to be ready to participate at the beginning of each class.

Getting started
Visit www.blogger.com and follow the step by step tour. Select one of the ‘minima’ templates. Make sure you use your full name, or an appropriate alias to name your blog. Finally email your blog link to materialsynergy2010@gmail.com making sure to include your student name and number by the beginning of next class.

Once you have set up your blog, you will be using this for folio development along with the esquisses which will be uploaded, make sure to get stated as soon as possible.