Cleveland Institute of Art 2012–13 Catalog 2

Non-Discrimination Policy It is the policy of the Cleveland Institute of Art, in accordance with the provisions set forth by Title IX of the 1972 Education Amendment Act and Section 504 of the Rehabilitation Act of 1973 and other federal regulations, not to discriminate on the basis of race, color, creed, national or ethnic origin, gender, sexual orientation, age or disabilities, in employment practices, administration of educational policies, admission, scholarship and loan programs, and other college-administered programs and activities. 3

Table of Contents

5 Message from the President 7 About CIA 9 History 11 Accreditation

13 Section 1: 2012–13 Academic Calendar 17 Section 2: Admissions and Financial Aid 27 Section 3: Undergraduate Degree Majors and Programs 37 Section 4: Academic Policies, Procedures, and Services 49 Section 5: Support Services 55 Section 6: Financial Matters 59 Section 7: Student Life 65 Section 8: Degree Requirements 83 Section 9: Course Catalog 199 Section 10: Faculty Listing 203 Section 11: Administration and Board of Directors

Every effort is made to ensure the accuracy of the information contained in this Cleveland Institute of Art Catalog; however, the Catalog is not a contract but rather a guide for the convenience of students. The Cleveland Institute of Art reserves the right to change or withdraw courses; to change the fees, rules, and calendar for admission, registration, instruction, and graduation; and to change any of its policies or other provisions listed in the Catalog at any time. 4

The Cleveland Institute of Art is an independent college of art and design committed to leadership and vision in all forms of visual arts education. Since 1882, we have been an educational cornerstone in Cleveland, Ohio and have won widespread acclaim for the quality of our programs and achievements of our alumni. Students are encouraged to explore their vision and develop their skills through an interdisciplinary curriculum. 5

Message from the President

Creative, innovative, and ambitious—all hallmarks of visionary artwork and attributes I see daily in our students here at the Cleveland Institute of Art. Since 1882, CIA students have excelled in producing exciting works of art and design, and our current student body is no exception. I’m proud to see their inspiring work all summer long in CIA’s Reinberger Galleries during our third major exhibition of their work this year, the Student Summer Show.

Please take some time to look at our website to discover everything CIA has to offer. And check back throughout the summer and fall to read about our students and faculty and to learn more about our 18 degree programs. Whether you are interested in taking a continuing education or pre-college class, attending the Cinematheque, or just visiting our campus, you will be sure to find a welcoming and vibrant community at the Cleveland Institute of Art.

Best,

Grafton J. Nunes President, Cleveland Institute of Art 6 7

About CIA

Institutional Statement The Cleveland Institute of Art strives to nurture the intellectual, artistic, and professional development of students and community members through rigorous visual arts and design education, and in so doing to advance culture, community, and global quality of life. Our success is derived from a pursuit of excellence, the fostering of community, a holistic approach to education, a culture of accountability, and freedom of inquiry.

Vision To advance culture, community, and global quality of life.

Mission To nurture the intellectual, artistic and professional development of students and community members through rigorous visual arts and design education.

Values Excellence: To pursue academic rigor and leadership.

Community: To foster internal and external collaboration, cooperation, and communication.

Holism: To offer a comprehensive personal academic experience.

Accountability: To follow best practices in the management of human, financial, and the earth’s resources.

Freedom of Inquiry: To respect and encourage open dialogue and diversity of artistic and intellectual expression. 8 9

History

The Cleveland Institute of Art was founded in 1882 as the Western Reserve School of Design for Women. After a brief period of operations under the auspices of Western Reserve University which ended in 1891, it became known in 1892 as the Cleveland School of Art. Its present name appeared in a school catalogue, which noted “as of summer 1949, the school will be known as the Cleveland Institute of Art.” Changes to the Institute go well beyond its name; the vision has evolved with purpose; the curriculum has been refined and revised over time in order to ensure the provision of an education of the highest quality and lasting value for those wishing to pursue professional careers in visual art and design. Yet the fundamental mission and the strategies have endured. The founders stated as their original objective to teach “the principles of Art and Design as practically applied to artistic and industrial pursuits.” Most recently, in 2008 the Institute engaged in a year-long strategic planning process which further refined the mission: “To nurture the intellectual, artistic and professional development of students and community members through rigorous visual arts and design education.” Though the school has seen many developments and growth, the vision remains centered on the advancement of culture, community, and global quality of life.

The state of Ohio has authorized the Cleveland Institute of Art to confer the Bachelor of Fine Art degree since 1946. The Institute is an accredited member of the National Association of the Schools of Art and Design (NASAD), and a member of AICAD (Association of Independent Colleges of Art and Design). Initial accreditation by the North Central Association of Colleges and Schools (NCA) was approved in 1970. The NCA approved continuance of accreditation in 1974, 1980, 1991, 2000, and 2012. 10 11

Accreditation

The Cleveland Institute of Art is accredited by the Higher Learning Commission of the North Central Association of Colleges and Schools, the National Association of Schools of Art and Design (NASAD), and the State of Ohio. CIA is a member of the Association of Independent Colleges of Art and Design (AICAD), a consortium of America’s specialized art and design colleges. 12 13

Section 1: 2012-13 Academic Calendar 14

Fall 2012 August

20–24 In-Person Tuition Payment/Registration for Fall semester. 20–31 Course drop-add period. Schedule changes. 27 Fall semester begins. 27–31 Late Registration. $350 late fee assessed.

September

3 Labor Day. Institute holiday. No classes. Buildings closed.

October

19 Mid-term grades due at 5pm in Registrar’s Office. 22–26 Case dining halls closed.

November

2 Last day to withdraw from a course, Fall 2012. 5–9 Advising for Spring 2013 course pre-scheduling 12 Online scheduling opens to seniors for Spring course pre-scheduling. 21 No classes. Offices open. 22–23 Thanksgiving recess. Institute holiday. Buildings closed.

December

3–7 Liberal Arts Exams/Mid-year Crits for BFA candidates. 10–14 Final Studio Critiques. 14 Final grades for weekday classes due by 5pm in Registrar’s Office. Last day for incomplete grade revisions from Spring 2012. 15 Fall semester ends. Residence hall closes. Holiday recess begins. 22–Jan 1 Institute Winter Break. Buildings closed. 15

Spring 2013 January

7–11 In-Person Tuition Payment/Registration for Spring semester. 7–18 Course drop-add period. Schedule changes. 13 Returning students move into residence hall. 14 Spring Semester begins. 14–18 Late Registration. $350 late fee assessed. 21 Martin Luther King Day. Institute holiday. Buildings closed.

March

8 Mid-term grades due at 5pm in Registrar’s Office. 9 Residence hall closes for spring break. 11–15 Spring Recess. No classes. Offices open. 16 Residence hall opens at noon. 18–22 Portfolio Review Week for Major Selection. 25–29 Honorary Scholarship Competition. Specific dates, times, and locations to be announced. 29 Last day to withdraw from a course, Spring 2013.

April

1–5 Advising for Fall 2013 course pre-scheduling. 8 Online scheduling opens to seniors for Fall course pre-scheduling. 26 Last day of regular classes, studio and liberal arts. 29–May 3 Academic Exam/Studio Critique Week. Schedule to be determined.

May

6–10 BFA Reviews + Exhibitions. 10 Last day for incomplete grade revisions from Fall 2012. 11 Spring semester ends. Residence hall closes for summer. 13 Final grades for graduating students due at 5pm in Registrar’s Office. 17 Final grades for all students due at 5pm in Registrar’s Office. 18 Commencement. Time and location to be announced. 20 Final studio clean out. 27 Memorial Day. Institute holiday. Buildings closed. 16 17

Section 2: Admissions and Financial Aid

The Cleveland Institute of Art offers 18 different majors, your own dedicated studio space, and direct access to your professors through a 9:1 student-to-faculty ratio. We bring in artists and exhibitions from around the world and connect you with local and national businesses. And you’ll live, work, and learn in University Circle, Cleveland’s urban cultural hub. 18

statement. If you send a typed statement, 7. Submit your portfolio of artwork. Admissions please sign the bottom of the personal All work submitted must be in CD or DVD form statement form in the application. or once you apply instructions on uploading your portfolio will be sent to you. Your portfolio First-Time Freshman Students 4. Arrange to have your high school/college should consist of no fewer than 12 and no more We admit first-time freshmen (candidates with transcript sent to the Office of Admissions. than 20 pieces of work. Please carefully follow no prior college experience) into degree- If you are a transfer applicant, please have all our portfolio guidelines. seeking status for the fall semester only. official transcripts sent from each college you attended. If you have successfully completed 8. Send all application materials to: We strongly encourage you to follow application 24 college credits and attended a regionally Office of Admissions deadlines (see sidebar to the right) to ensure accredited college or university full time for a Cleveland Institute of Art admission to CIA and eligibility for the highest year or more, you do not need to submit a high 11141 East Boulevard amounts of portfolio scholarships and school transcript. Cleveland Ohio 44106 institutional financial aid. However, you may submit an application for admission any time 5. Forward one letter of before the first day of classes on a “rolling recommendation to CIA. basis” and will be considered as long as space If you are a high school student, we suggest is available. this letter be from an art teacher. We also will accept this letter from a counselor or someone As a first-time freshman candidate, you will be who understands your desire to pursue an arts considered automatically for portfolio grants education. If you are a transfer applicant, and scholarships as long as all of your choose an individual who knows you well and application materials have been submitted understands how much you want to become a by March 1. working artist or professional, such as a faculty member or counselor. Your application should include: 6. Request that SAT or ACT test results „„ $30 application fee be sent to CIA. „„ Personal statement outlining your reason Our identification numbers are SAT-1152 and for applying ACT-3243. Transfer students with at least 12 „„ Official high school/college transcripts college credits are not required to submit SAT „„ Letter of recommendation, preferably from or ACT scores. International students whose an art teacher or counselor first language is not English must submit the „„ Official SAT or ACT test scores TOEFL with a minimum score of 525 PBT „„ Portfolio of artwork (paper-based test) or equivalent 213 CBT (computer-based test) or 79 IBT (internet-based Application Process test). We also accept a band score of at least 1. Complete the application. 6.0 on the IELTS or completion of Level 112 of You may apply online, or fill out an application ESL coursework. form and mail it to our Office of Admissions (application materials here). Please note that we *International students with TOEFL scores must have your signature at the bottom of the lower than those listed above may be admitted form. conditionally, and will be required to take additional ESL coursework or tutoring in order 2. Attach the $30 application fee. to improve their English skills during their time Make all checks or money orders payable at CIA. Conditions for admission of these to the Cleveland Institute of Art. students will be made on a case by case basis. Students should inquire in the Admissions 3. Complete a personal statement, Office to determine their eligibility for in which you describe your purpose for conditional admission. attending a college of art and design, what led you to this decision, and why you have chosen to apply at CIA. You may either fill out the personal statement prompt outlined in Section 6 of the application form or include a typed 19

Transfer Students „„ Completion of Level 112 ESL coursework International Students Students who have attended other accredited The Institute is especially pleased to receive four- and two-year colleges or universities, *International students with TOEFL scores applications from international students as we and post-secondary professional schools are lower than those listed above may be admitted believe you contribute greatly to the school encouraged to apply as transfer students. conditionally, and will be required to take community. If your native language is not Transfer students applying for the fall semester additional ESL coursework or tutoring in order English, you must demonstrate proof of English will be reviewed for scholarship beginning to improve their English skills during their time language proficiency in addition to satisfying all May 1 and will be considered as long as their at CIA. Conditions for admission of these admissions requirements. As an international complete applications are received by June 15. students will be made on a case by case basis. student, you also are required to submit an Students transferring in the spring semester Students should inquire in the Admissions International Student Supplemental form and a will be reviewed for scholarship beginning Office to determine their eligibility for Certification of Finances form with your November 15 and will be considered until conditional admission. application. January 1. 3. Send one letter of recommendation. As an international student, we also recognize Transfer Student Application Process The letter preferably should come from a faculty your concerns about adjusting to cultural, Transfer candidates are accepted at CIA based member or counselor who knows your artistic social, and environmental changes. Therefore, upon artistic and academic qualifications as and academic work well and understands your our Office of Academic Services and well as available space. To be considered for desire to become a working artist. International Programs staff will help you adapt admission, a transfer candidate should follow to life at CIA and serve as a hub of helpful standard application procedures and criteria. 4. Submit your portfolio. information for you. Transfer applicants also must adhere to the In addition to abiding by our portfolio guidelines additional guidelines below. and format rules, please make sure to provide International Student the specific elements required of transfer Application Process 1. Submit official transcripts from all students. International students should adhere to the colleges, universities, and post-secondary same admission procedures, deadlines, and schools attended. 5. Send all application materials to: portfolio guidelines as first-year freshmen or Office of Admissions transfer applicants. You also must include the „„ If you have completed less than 24 college Cleveland Institute of Art additional requirements below in your credits, you will need to submit your official 11141 East Boulevard application. high school transcripts. Cleveland Ohio 44106 „„ If you have completed more than 24 hours 1. Download and complete an International or attended a regionally accredited college Student Supplemental Application form. or university full time for a year, you do not need to send your high school transcripts. 2. Download and complete a Certification of „„ If you have completed less than 12 college Finances form. credits, please also request your SAT or ACT test results are sent to CIA. Our 3. If English is not your native language, identification numbers are SAT-1152 and demonstrate proof of English language ACT-3243. proficiency with one of the following:

2. If you are a transfer international student „„ TOEFL (Test of English as a Foreign and English is not your native language, you Language) score of at least 525 PBT also must demonstrate proof of English (paper-based test), 213 CBT (computer- language proficiency with one of the based test), or 79 IBT (Internet-based test) following: „„ IELTS (International English Language Testing System ) band score of 6.0 or „„ TOEFL (Test of English as a Foreign higher „„ Language) score of at least 525 PBT „„ SAT or ACT test scores (paper-based test), 213 CBT (computer- „„ Completion of Level 112 ESL coursework based test), or 79 IBT (Internet-based test) „„ IELTS (International English Language *International students with TOEFL scores Testing System ) band score of 6.0 lower than those listed above may be admitted or higher conditionally, and will be required to take „„ SAT or ACT test scores additional ESL coursework or tutoring in order to improve their English skills during their time 20

at CIA. Conditions for admission of these U.S. Veterans „„ Part-time students students will be made on a case by case basis. The Cleveland Institute of Art encourages U.S. „„ Re-admissions students (i.e., students Students should inquire in the Admissions veterans to apply. We are participants in The who withdrew or took a leave of absence Office to determine their eligibility for Yellow Ribbon GI Education Enhancement from CIA) conditional admission. Program (Yellow Ribbon Program) and fully „„ Probationary admissions students (i.e., approved under Veteran’s Law. This means if any applicant judged generally admissible, 4. Send all application materials to: you are a U.S. service member or veteran who despite academic or English deficiencies) Office of Admissions qualifies for Post-9/11 GI Bill funds, you may „„ Vocational rehabilitation students the Cleveland Institute of Art receive a significant amount of supplemental 11141 East Boulevard funds for your education from CIA. Returning Students Cleveland Ohio 44106 Students wishing to return to CIA after a leave Yellow Ribbon Program of absence or withdrawal must fill out a If you have any questions about our application At CIA through the Yellow Ribbon Program returning student application. Generally, a process, please contact our Office of provision of the Post 9/11 GI Bill, eligible U.S. portfolio review is not required unless the Admissions. veterans and their dependents may qualify for student seeks advanced placement and the an opportunity to receive fully funded tuition. application fee is waived. Students who applied to CIA within the last three years but never Program Benefits enrolled must fill out a reactivation application. Between the GI Bill, CIA’s contribution, and a Students who are interested in taking classes at matching contribution from the U.S. CIA but do not wish to pursue a degree must Department of Veteran Affairs (VA), our Yellow complete a non-degree student application. All Ribbon Program benefits cover four full years of other students should follow our standard tuition for qualifying students. We are proud to admission procedures and criteria. For the best offer the largest benefits of any Ohio art school, guidance on how to assemble your application and one of the best among America’s materials, we suggest contacting an specialized art and design colleges (AICAD). admissions counselor.

How the Program Works Pre-College Program Signed into law in 2009, the Post 9/11 GI Bill CIA’s annual summer Pre-College Program is pays for in-state public tuition and fees for open to all students who will be entering their eligible U.S. veterans, service members, sophomore, junior, or senior year of high reservists, and National Guard members, and it school. This two week long residential program may be transferable under certain is designed to reflect the life of an art student circumstances to a spouse or dependent. The attending an art school to obtain their Yellow Ribbon Program supplements the GI Bill Bachelor’s of Fine Art degree. Student’s who by allowing private or out-of-state schools with successfully complete this program earn three higher tuition to contribute additional funds that undergraduate credits from the Cleveland are matched by the VA. The Post-9/11 GI Bill Institute of Art. offers the most comprehensive education benefit package since the original 1944 GI Bill, which funded education or training for 7.8 million World War II veterans.

Special Admissions Students At CIA, we recognize that you may have unique circumstances, and we are open to exploring your options as a potential candidate.

Depending on certain qualifications, such as an aptitude for art, we will accept applications from:

„„ Home-schooled students „„ Non-degree seeking students 21

disbursement of financial aid, bill payment, and If federal guidelines determine that you are Financial Aid our financial aid promise. financially dependent on your parents, you must include parent information when you file If you have any questions or need additional the FAFSA. We understand that paying for college is not assistance, please contact our Office of easy. At the Cleveland Institute of Art, we pride Financial Aid. We look forward to helping you in You are considered to be dependent unless you ourselves in offering a personal touch to whatever way we can to make this often are one of the following: a potentially confusing process—financing your confusing process as easy and simple as education. We are ready to clarify tricky topics, possible. „„ Twenty-four years of age as of January 1 answer your questions, discuss any concerns „„ Married regarding your ability to afford CIA, or consider Applying for Financial Aid „„ A graduate or professional student special financial situations. Once a student applies for admission and is „„ Responsible for a legal dependent other accepted to CIA, a financial aid award letter is than a spouse Our financial aid office is committed to helping mailed to the student. In addition to the letter, „„ On active duty or a veteran of the U.S. you find ways to close the gap between the we also enclose our Financial Aid Information Armed Forces cost of attending the Institute and your ability to Guide and the CIA Financial Aid Application, „„ An orphan or ward of the court (currently or fund your education. We will work with you to which must be completed and returned to the formerly) craft a personalized financial aid package that Office of Financial Aid. Financial aid applicants combines any available Institute-sponsored aid, also should complete the FAFSA as soon as In unique instances, you may be able to federal aid, scholarships, loans, work study possible after it becomes available on demonstrate that you are independent. For your programs, and more. January 1 at fafsa.ed.gov. dependency override appeal to be considered for independent student status, you must As you begin to make important choices, keep Note: You must re-apply for federal, state and provide specific documentation of these in mind: An impressive 98 percent of CIA CIA need-based student aid annually by circumstances. In such a case, we recommend students receive financial assistance. completing the FAFSA every year. you meet with a financial aid counselor to Note: If you transfer to CIA mid-year, your aid discuss your situation. How Does the Financial Aid does not transfer automatically with you. Process Work at CIA? FAFSA Verification Once you have received an acceptance letter Free Application for Federal Student In some cases, your FAFSA may be selected from CIA, you may be eligible for federal Aid (FAFSA) fafsa.ed.gov by the U.S. Department of Education or by CIA financial assistance if you: You should complete the FAFSA online (CIA’s for a process called verification, in which the FAFSA code is 003982). FAFSA results are answers submitted on your FAFSA will be „„ are a U.S. citizen applicable to all institutions, so complete the verified against requested tax forms and other „„ have a high school diploma or general application regardless of whether you have documentation to ensure accuracy. equivalency credentials (GED) decided which institution you plan to attend. Aid awarded will remain “estimated” until „„ have registered for the draft if you are verification is completed. a male between ages 18 and 26 To apply online, request a personal (see sss.gov) identification number (PIN) at pin.ed.gov, and CIA Application for „„ maintain satisfactory academic progress make sure you save your PIN as you will need it Financial Aid „„ qualify for need-based assistance through to re-apply for the FAFSA each year. You also Complete and return the CIA Application for the Free Application for Federal Student may need a PIN for one of your parents if you Financial Aid to the Office of Financial Aid by Assistance (FAFSA) are considered financially dependent on your March 15. Once we have received your parents (see Dependency Status on next page). completed CIA Application for Financial Aid and If eligible, you will need to complete and return FAFSA results, our review process for financial both the FAFSA and the CIA Institutional Through the FAFSA process you will be aid will begin. Financial Aid Application to us by March 15. assigned an expected family contribution (EFC). Your EFC is based on a standard formula Estimated Family Contribution Application Process and Timeline established by Congress, and is used as a We award financial aid packages according At the Cleveland Institute of Art (CIA), our measure of your family’s financial strength. to your need-based eligibility, which is financial aid counselors are committed to Because your award is based on your EFC and calculated by subtracting your expected finding ways to close the gap between the cost the date your FAFSA is processed, it is family contribution (EFC) from your cost of of attending the Institute and your family’s ability important that you complete the FAFSA as attendance, or COA. The direct and indirect to pay for the excellent education that we offer. soon as possible after January 1. costs of your CIA education comprise your Learn more about how to apply for financial aid, COA. Once your need-based eligibility is our financial aid timeline and checklist, Dependency Status 22

determined, we will create a personalized Scholarships Students who do not receive a President’s financial aid package and send you an The Cleveland Institute of Art offers an Scholarship to attend CIA and whose fall award letter. extensive merit recognition program, using semester grades are in the top ten percent of endowed scholarships and other privately your class, can compete for the Honorary Special Circumstances funded awards, to support our students. Scholarship. In the spring semester, all students In some instances, you may request a We offer scholarships through our academic who meet eligibility criteria will be invited to re-evaluation of your student financial departments, the Office of Admissions, and apply by the Office of Academic Services. A assistance eligibility. Examples include unusual the Office of Financial Aid. Many students jury selects up to eight winners per class. medical expenses, loss of employment, loss of combine multiple scholarships to reduce their Winners are announced at the annual spring taxable or non-taxable income or private tuition cost of attendance. Scholarships do not need awards ceremony. Winners have received expenses for primary or secondary schooling. to be repaid. $2,000 towards the next academic year. Two To request a re-evaluation of your eligibility, you honorary recipients will be selected as Clara can submit an appeal and supporting Scholarships usually are based on special Rust Brigham award winners and receive larger documentation to the Office of Financial Aid. qualifications or merit, such as students’ test award amounts. scores, accumulative grade point average Disbursement of Financial Aid (GPA), talent, and major, and are designed for Institute-Wide Awards Financial aid awards will not be disbursed or first-year and returning students (except the Current students may apply for these awards if posted to your student account until the Office Transfer Student Merit Scholarship). You also they meet the application criteria (ask a financial of Financial Aid receives your signed Financial must be enrolled full-time at CIA. aid counselor for details). Institute-wide awards Aid Award letter accepting the awards. include scholarships towards tuition, Disbursement will be made to your student Internal Scholarships scholarships to study abroad, and the very account after the start of each semester when The Institute offers extensive merit recognition prestigious commencement traveling awards. your financial aid file is complete. For your to students at all levels. These awards can They also include “the honoraries,” which are financial aid file to be considered complete, you decrease your cost of attendance substantially. competitive scholarships of $2,000 each must have returned all required and requested New students are automatically considered for awarded during the Honorary Scholarship forms to the Office of Financial Aid, and you are some of our internal scholarships. Returning competition in March. And they include the registered for classes. Please follow the students may apply and compete for many most prestigious award for our graduating instructions and paperwork included with your additional awards. Internal scholarships fall into seniors: the President’s Traveling Scholarships. billing statement to deduct all awards from your three categories: new student awards, Institute- CIA remains one of the few—if not the only—art account balance. wide awards, and departmental awards. schools to offer scholarships upon graduation to fund students’ travel and study related to Bill Payment Admissions Office Merit Awards their artistic interests. For questions pertaining to your billing Newly admitted freshmen and transfer students statement or about making payments, please automatically are considered for CIA merit- Departmental Awards contact the Office of Student Accounts by based scholarships when their Application During the spring semester, individual academic calling 216.421.7318 information is reviewed. No separate application departments award scholarships and grants to is required. current students. View a list of Departmental CIA Financial Aid Office Promise Awards. We promise to assist you in achieving your The Office of Admissions offers first-time educational goals by providing guidance and freshmen and transfer students renewable External Scholarships support in paying for your education. Through merit awards based on the strength of their We encourage you to find and apply for external teamwork, we will promote professional and portfolio and academic achievement. These scholarships to supplement any CIA-based aid technical enhancements in an effort to be timely merit awards include the CIA President’s you might receive. To be considered for and accurate in the administration of financial Scholarship, CIA Gund Family Scholarship, external scholarship support, you will need to aid. Each financial aid employee is held to the and CIA Dean’s Scholarship. contact the funding organization and follow highest ethical principles as defined by our their application procedures. You also can view code of conduct. All recipients must be enrolled full time at CIA a list of external scholarship resources below. and maintain a minimum GPA as outlined in your acceptance letter and award fact sheet. For more information, contact our Office of Admissions.

CIA Honorary Scholarships 23

External Scholarship Board Additionally, most freshmen (except those from When organizations send scholarship Cuyahoga County, Ohio, who choose to information to the Office of Financial Aid Office, commute), will also have room and board we post the information on the scholarship expenses for living in our Residence Hall. board located inside the Office of Admissions. These fees are posted every spring on cia.edu. You may pick up available applications at the Office of Financial Aid. Indirect Costs Books and supplies, transportation, and Financial Aid: Departmental personal expenses are not costs that each Awards student will be billed for through CIA. However, In addition to CIA merit scholarships and these expenses are associated with attending need-based awards, academic departments CIA and are included in the cost of attendance. offer merit or merit/need-based scholarships Students, who live off campus and commute and grants to currently enrolled students. from their parent’s or relative’s home or from an Departmental scholarships and grants are apartment or other type of rental unit, will also awarded by each academic department, have food and other expenses. An estimate of and are based on a student’s major. these costs are included in the cost of attendance. Applying for Departmental Awards In order to demonstrate financial need eligibility, The cost of attendance is the combination of you must submit the FAFSA no later than direct and indirect costs associated with March 15 of the school year. Contact individual attending college. It is used with the calculated departments during the spring semester to estimated family contribution from the data apply for departmental awards. reported on the FAFSA and used to determine financial aid eligibility. You may receive financial Award winners typically are chosen by a aid including student loans up to the total cost departmental faculty committee. Winners are of attendance. Financial aid disbursed to your announced at the CIA Awards Ceremony held account in excess of your direct costs will be every spring semester. refunded back to you.

Financial Aid: Cost of Attendance The cost of attendance is the combination of direct and indirect costs associated with attending college. It is used with the calculated estimated family contribution from the data reported on the FAFSA to determine financial aid eligibility. You may receive financial aid including student loans up to the total cost of attendance. Financial aid disbursed to your account in excess of your direct costs will be refunded back to you.

Important Notes: Direct Costs All students are sent a bill from the Office of Student Accounts each semester which includes tuition based on full-time enrollment and also mandatory institutional fees including lab fee, technology fees, health service fees, student activity fees, and an orientation fee (Fall semester only). These expenses are posted on cia.edu every spring for the upcoming academic year. 24 25 26 27

Section 3: Undergraduate Degree Majors and Programs

The Cleveland Institute of Art offers 18 majors in art, design, craft, and integrated media. Each of these four-year undergraduate programs leads to a Bachelor of Fine Arts degree (BFA). And if you’re interested in teaching, we offer a 4+1 master’s degree program in partnership with Case Western Reserve University. 28

rainforest of the Cleveland Botanical Gardens. Liberal Arts at CIA Foundation Year With Case Western Reserve University, At the Cleveland Institute of Art, we cultivate the University Hospitals and the Cleveland Clinic intellectual development of our students as they and Liberal Arts located a quick walk across Euclid Avenue we move through each of their degree programs. tap into unmatched science and health care In order to create, you need not only art and resources that boost our curriculum. design skills, but also the ideas behind them. Foundation Program So woven throughout each semester at CIA are For First-Year Students courses in the humanities and social sciences— At the Cleveland Institute of Art, all first-year art history, English, philosophy, anthropology, students begin with our Foundation program, a psychology. At CIA you will graduate with a yearlong introduction to forms, methods, media, breadth of knowledge that is the hallmark of the and concepts crucial to your future academic baccalaureate degree. and professional success. You will emerge from the program on technically equal footing with The Three C’s: your peers—ready to concentrate on the study Culture, Creativity, Connection and practice of art and design. A singular feature of the Institute’s Liberal Arts curriculum is our approach to studying a Laying the Groundwork for Your subject by connecting it to other disciplines in Future our program. For example, in your freshman Our Foundation studio curriculum offers an year at CIA, you may read about ancient intensive exploration of color, form, design, and medieval philosophy and culture in and creative problem solving. You will begin English class while also taking Ancient with core courses in drawing, design, color, and Medieval History of Art. This carefully and digital studies that acquaint you with calibrated educational experience creates a composition, drawing principles, and 2D and comprehensive perspective on a subject that 3D materials and processes. As you work will give you a broad sense of the trajectory of on studio projects, you will investigate visual world history itself. dynamics, creative processes, and issues that inform contemporary art, design and culture. Our Liberal Arts curriculum is designed to develop your understanding of world cultures— To help you transition from Foundation studies both past and present—and to discover the into the major of your choice, you also will importance of these ideas to the growth of your take an elective class. The elective offers an artistic life. Coursework centers on the ideas of opportunity to explore various disciplines in the culture as a generator of creative ideas and of arts, crafts, and design areas while helping you students as makers within their cultures. make an informed choice about your major and future career path. Foster the Expression of Ideas Reading and composition are crucial to the Share in a Collective Setting development of your own artistic ideas. By Be prepared for lively debates and the completing rigorous assignments in analytical camaraderie that develops as you and your essays and research papers, you will become peers work together in studio. The Foundation a stronger writer, able to convey your point experience fosters a learning environment that of view in tandem with understanding is responsive to your aspirations, as well as to diverse perspectives. For those who excel innovations in the world of art and design. in these areas, you also may choose to add We balance fundamental approaches concentrated Liberal Arts coursework to your with experimentation to develop your studies. Complete a Visual Culture Emphasis aesthetic sensibilities. to enjoy extensive training in art history, theory, and criticism. Or opt for a Creative Writing Take advantage of our amazing location in Concentration if you want a career advantage the center of Cleveland’s cultural district. Our in fields like illustration or film (or if you just love classes regularly travel across the street to to write). the permanent collections of the Cleveland Museum of Art, the exhibits of the Cleveland Museum of Natural History, or through the 29

The following courses comprise „„ Contemporary Art: Critical Directions „„ Spies the Foundation Requirements: „„ Creative Writing Workshop: „„ Survey of Contemporary Music and Its Dialogue and Story Relation to the Visual Arts „„ Art History: Ancient 18th Century: „„ Creativity and Taoism „„ Traditional Tribal Art Concepts, Themes, and Methods „„ Critical Models „„ Tribe vs. Nation: Political and „„ Critical Issues in Art and Design History: „„ Culture/Conflict/Syncretism in African Cultural Survival 18th Century–1945 and African-American Literature „„ Visual Anthropology: Ethnographic „„ Critical Issues in Art and Design History: „„ Demystifying the Maya Film Survey 1945–Present „„ Design and Craft in Modern Culture „„ Visual Culture and the Manufacture „„ Post-1960s Art and Design Electives „„ Exhibition Theory and the Culture of Meaning „„ Writing & Inquiry I: Basic Composition of Display „„ Ways of Thought: Confuciansim, Taoism, & Contemp Ideas „„ Fiction Writing and Zen „„ Writing & Inquiry II: Research „„ Film History and Theory: Documentary „„ Ways of Thought: Hinduism and Buddhism & Intellectual Traditions „„ Folk Art, Minority Art, and Outsider Art „„ Who Owns Art? Issues of Asian „„ Writing & Inquiry III: Narrative Forms „„ From the Front Row: Cinema + an Art Collecting „„ Advanced Writing-Intensive Electives Approach to Critical Writing. „„ Women’s Words: Studies in the Literature „„ Graphic Narratives Written by Women The following courses can be used to „„ The History of Art History and fulfill the Distributional Requirements: Its Philosophy Visual Culture Emphasis These courses are offered on a rotational basis „„ History of Photography Survey This course of study will provide you with the „„ Human Antiquity skills to articulate your understanding of theory „„ 10 Chinese Painters You Must Know „„ Hybrid Writing and history of visual culture and incorporate „„ 12 Artists of 1950s China „„ India: Culture and Society those perceptions into your own studio work. „„ Abnormal Psychology „„ Intro to African and African-American In the Visual Culture Emphasis you’ll study „„ Advertising Images Literature and Culture 18 credits of designated Liberal Arts classes „„ African American Art „„ Intro to Narrative Film in addition to the Foundation Liberal Arts „„ American Crafts History „„ Issues in Design: Theory and requirements. You’ll become a stronger writer „„ American Vernacular Architecture Culture of Design and communicator as your studies help you „„ Anthropology „„ Japanese Expressions reflect on how art and design are informed by „„ Art of China „„ Jazz: Contemporary concept, theory, and history. Areas of study „„ Art of Mesoamerica African-American Writers include new media and film; non-Western „„ Art of the Personal Essay „„ John Cage: His Life, Work, and Influence and folk art; contemporary issues in art and „„ Art Since Abstract Expressionism „„ Jung and Creativity design; art criticism; popular and mass culture; „„ Art Writing „„ Legends and Kings: Structures and Uses philosophy and aesthetics; and critical theory „„ Artist as Author of the Narrative and methods of analysis. „„ Arts Journalism „„ Literature of the Americas „„ Arts of East Asia „„ Media Arts and Visual Culture: Installation Creative Writing Concentration „„ Asian Art Survey „„ Media Arts and Visual Culture: If you are an artist or designer who also has „„ Autobiographical Narrative Interactive Zones been writing stories, graphic novels, and in African Literature „„ Modernism in Latin American Art poems, our Creative Writing Concentration „„ Avant Garde Film „„ Naratology and Storytelling can keep you on track to grow as a creative „„ Avant Garde Film: Montaged “Talkies” „„ Narrative Art and Mythic Patterns in African writer—while you become a stronger visual „„ Basic Theories of Psychology and African-American Literature communicator. Or if you plan a career in „„ The Body: Tradition, Transformation, „„ Neo-Expressionism, Neo-Geo, illustration, graphic fiction, game design, or film, Transgression and Postmodernism and need the career advantage of excellent „„ Building Models: Artist, Art (and History) „„ On the Same Page: Rhetoric, Design, writing skills, this Concentration allows you in the Framework of Theory and Criticism and Writing in the Digital Age to work on your writing while you pursue „„ Censorship, Art, and the Law „„ Peru Before Pizzaro your studio degree. The Creative Writing „„ Chinese Poetry „„ Poetry Writing Concentration is comprised of 12 total credit „„ Conceptual Art: History, Theory, and „„ Race and Representation hours (four courses), taken in the Liberal Arts Contemporary Practices „„ Science Fiction Writing Workshop Environment. As a final requirement of the „„ Contemporary African and African- „„ Screenwriting Concentration, you’ll create a body of American Literature „„ Sexuality and Popular Culture in America written work. „„ Contemporary Art: Andy Warhol „„ Sound Art and New Media 30

Biomedical Art Ceramics Majors One of only a few BFA degrees of its kind in At the Cleveland Institute of Art, our ceramics the United States, our Biomedical Art program program builds on the age-old medium of combines applied art, science, and technology ceramic art by teaching both the science Animation to create visual education materials on scientific and the art of its two major traditions: works Animation is a medium that breathes life into and medical topics. of sculpture and works of utility. We expose concept through movement. As an Animation students to the rich history and contemporary student you’ll discover how the dialogue of an Merging Tradition with New potential of ceramics as a vehicle for the otherwise stagnant image or object changes Technology expression of ideas. and evolves when put to motion. Based on the traditional field of scientific and medical illustration, our curriculum incorporates Develop a Wide Range of Techniques Study the Craft of Storytelling leading-edge digital media techniques, As a Ceramics major, you will study nearly every As a student in our program, you will create interactivity, and animation. As a Biomedical aspect of ceramic work. Coursework includes narrative and experimental animation that bring Art major, we blend your artistic talent with handbuilding, pottery wheel throwing, glaze both characters and environments to life. Our knowledge of natural science, a biomedical making, glazing techniques, and loading and integrated curriculum focuses on sequential intellect, and strong visual communication skills. firing gas and electric kilns. Explore ceramic narrative storytelling, methods of animation, materials in two and three dimensions through conceptual development, framing and staging, You will learn about illustration, information the use of mold work and multiples in sculpture, storyboarding, animatics, layers, and motion design, 3D modeling, and animation through studio pottery, and ceramic design. Expand and figure studies. conventional and digital methods. With a your creativity as you develop fabrication flexible course of study, you can take techniques including press molding, drain You will work with innovative production courses in: casting, solid casting, casting body formulation, technologies in 2D and 3D digital media and slip preparation and use, glazing, and surfacing. animation, film, video production, and stop- „„ Computer imaging and animation motion animation. To enhance your skills in „„ Editorial illustration Be Part of a Community character design and set construction, you will „„ Instructional design and multimedia As part of our material culture and craft study the development of personality in motion, „„ Medical sculpture environment, the Ceramics department offers lighting of small scale digital environments, „„ Surgical and natural science an interactive open studio environment that sound related to motion and sync, and the „„ Business and professional practices encourages collaboration and communication broad scope of tactile sculpture media. In between students, peers, and instructors. You addition, we emphasize presentation and Benefit from a Wealth of Resources are expected to share responsibilities for firing, public speaking skills, which help prepare you Our dedicated, highly-trained faculty is one glaze making, and studio upkeep. You also for pitching your ideas and directing a team. of our greatest assets. Each Biomedical Art will participate in group reviews and learn of instructor at the Cleveland Institute of Art exhibition opportunities for your work. is accredited by the Association of Medical Illustrators as a Certified Medical Illustrator. Besides their expertise, our faculty have established great connections with the region’s extraordinary medical, scientific, and cultural communities. Our professional partnerships with Case Western Reserve University, University Hospitals Case Medical Center, and the Cleveland Clinic as well as The Cleveland Museum of Natural History and Cleveland Botanical Garden will provide you with amazing exhibition opportunities and medical illustration projects. 31

Graphic/Communication Design Drawing Fiber + Material Studies As our methods of communication become As a Drawing major at the Cleveland As a Fiber + Material Studies major at the increasingly mobile, we rely more and more on Institute of Art you will explore traditional Cleveland Institute of Art, you’ll produce the art of design to communicate in creative and unconventional materials, tools, and diverse work for exhibition and be just as and engaging ways. At the Cleveland Institute techniques to define your aesthetic identity likely to participate in community arts projects, of Art, our Graphic/Communication Design as well as challenge your artistic vision and theatrical productions, design for special needs curriculum takes these dramatic changes that resourcefulness. children, installation, video and performance. are transforming the graphic design industry and the importance of clear visual An Integrated Visual Arts Curriculum Move Beyond the Ordinary communication into account. As part of the Visual Arts and Technologies Our curriculum consistently challenges you to (VAT) Environment, our BFA program in be at the forefront of innovation, while offering Examine a Wide Array of Design Drawing provides students with a broad you a broad knowledge of the visual arts and Processes education in the visual arts while strengthening an in-depth understanding of fiber and material As a Graphic/Communication Design their in-depth conceptual knowledge of the studies. major, you will explore both innovative and drawing discipline. traditional methods of graphic design including We focus on core techniques, concepts, and typography, print and web design, package Through our integrated curriculum, you will be processes such as: design, and signage. You will be introduced to introduced to historical and cultural frameworks forms, methods, conventional and experimental of drawing, the individual studio practice of „„ Computer-aided design types of media, and concepts crucial to drawing, style and aesthetics, and the idea „„ Dyeing creative development, self-expression, and of communication through drawing. You will „„ Felt making effective visual communication and production. master a visual vocabulary and learn to draw „„ Sewing from observation, ideation, and experimental „„ Silk screen While we rely on the latest technology to build processes. „„ Stitching technical skills, our coursework allows you to „„ Pattern making explore and grow beyond these technologies. A Supportive, Collaborative „„ Weaving Your study will include: Environment Our Drawing faculty use a multi-disciplinary Enrichment Through Collaboration „„ Editorial and publication design approach to teaching, pulling from other visual As part of Visual Arts and Technologies (VAT), „„ Event and exhibition design art fields, such as printmaking, painting, fiber you will share in an integrated curriculum „„ Interactive and motion graphics and material studies, and sculpture. Students studying other disciplines within the „„ Print, marketing and advertising design will attend lectures by and work individually with environment, including Printmaking, Painting, „„ Production visiting artists, including our VAT Environment Drawing, and Sculpture. You also may work artist-in-residence. alongside Industrial Design and TIME–Digital As part of the Design Environment, you also Arts majors as well as take classes from our will collaborate with Industrial Design and In addition, you will be tutored in creating a VAT Artist-in-Residence, a leading artist in his Interior Design students on projects and in the professional portfolio, developing grant-writing or her field. classroom. These opportunities as well as our skills, and proper etiquette for successfully integrated curriculum help you build valuable approaching dealers, curators, and collectors. communication skills and develop techniques You also will gain an understanding of how for presenting your ideas and final projects. to set up your own professional studio in our professional practices program.

Each spring, you will have an opportunity to visit professional galleries and exhibitions, such as the Whitney Biennial and The Armory Show, in New York City. 32

Game Design Glass Illustration As a major in our Game Design program at During the past half century, the studio As an Illustration major you will learn how to the Cleveland Institute of Art, you will acquire glass movement of the 1960s has bridged creatively translate conceptual ideas and skills in 3D modeling, animation, programming, the gap between individual artists and emotions into visual imagery. visual design, interactive storytelling, audio and craftsmen making one-of-a-kind sculptures to game production. In addition, your coursework creating handmade functional glass objects. Acquire Valuable Job Skills will examine theory and context of videogame This melding of personal expression with the Original thinking, the ability to formulate and culture and digital media. business of being a working artist has led express clear, relevant thoughts, and problem to the exponential growth in private, artist- solving are core skills we teach in our Illustration Prepare for an Exciting Career in owned studios, community studios, and glass program. You also will master a broad array of Game Design programs in universities including our BFA materials and techniques, ranging from pencils, Our Game Design curriculum strongly degree program at the Cleveland Institute of Art. acrylics, oils, and inks to contemporary collage, emphasizes presentation skills, such as writing, photographic, and digital processes. You will storyboarding, motion, and directing — all Train in Advanced Glass Techniques develop and complete projects in areas such essential for a successful job in game design. As a student in the Glass department, you will as storytelling and advertising, editorial, and You also will perform game-specific and player- train in three main methodologies: print illustration. focused research and study special effects. „„ Working hot glass which comprises Experiential Learning at Its Best As a Game Design student, you will: glass blowing and off hand, molten glass Draw inspiration for your work from field trips processes to professional art studios and advertising „„ Improve your character development „„ Working glass cold including cutting, agencies as well as from interactions with our abilities fabricating, grinding, sandblasting and talented visiting artists. Share your portfolio „„ Master the use of rule design, play polishing with employers, illustrators, and designers, who mechanics, and social game interaction „„ Fusion processes such as casting, are invited each year to the Institute. „„ Integrate visual, audio, tactile, and textual slumping, and bending elements into a total game experience „„ Create both linear and non-linear media by After you survey all basic methods during your applying post-production techniques introductory classes, you will explore various techniques and concepts before performing Additionally, you will learn how to create your own independent study and research 3D modeling digital visualizations that use individually tailored to your developing voice. processing, organic and inorganic modeling, You will do all of this under the guidance of our construction of compound objects, 3D primitive devoted Glass professors, whose commitment construction and modeling, and resolution and to the art form has earned them international tessellation of 3D objects and formats. recognition as leading contributors to the medium. A Team-Oriented Culture Collaboration is a vital aspect of the studio experience at CIA. As a Game Design major in the college’s Integrated Media Environment, you will be part of our digital arts student community and take core courses with students from other majors in the environment. This regular exchange between students with differing perspectives and techniques helps build team skills integral to brainstorming, character design, narrative ideas, production, and presenting and critiquing project outcomes.

Moreover, you will be mentored by our extremely talented faculty. Accomplished experts in digital media and game design, they will help you build connections and network with other professionals in the field. 33

Industrial Design Interior Design Jewelry + Metals Our Industrial Design program consistently Our Interior Design program emphasizes As a Jewelry + Metals student at the Cleveland ranks as one of the top programs in the country. commercial retail, architectural, functional, and Institute of Art, you will develop a thorough In fact, we are known for producing graduates spatial design. As a student, you will study understanding of traditional and contemporary who work at the top of their field, solving design processes, sensitivity and knowledge metalsmithing processes that will aid you in real-world problems and becoming successful of material specification, and ethical problem your journey to become an artist of decorative entrepreneurs. Our alumni design consumer solving. You also will learn several presentation and wearable art. electronics, sports equipment, housewares, methods, including drawing, rendering, furniture, toys, vehicles, medical devices and computer-aided design (CAD), and 3D modeling. An Innovative, many other products. Many of these designers Interdisciplinary Curriculum become leaders in the field, helping to develop A Real-World Classroom Our Jewelry and Metals coursework begins cutting-edge organizational strategies and Partnering with local design firms is one of with studying the fundamental techniques and managing teams that transform the way our program’s greatest strengths. These materials in jewelry design and small-scale people work and interact. There is a good relationships provide Interior Design majors sculpture. After learning the basics, you will chance that you use products designed by with exciting assignments, such as designing utilize more advanced technologies, such as: our graduates every day. restaurants, health care centers, auto dealerships, and museum, exhibition and „„ Anodizing Build a Foundation for a showroom space. „„ Computer-aided design/computer-aided Lifelong Career manufacturing (CAD/CAM) Our rigorous curriculum centers on research, Additionally, you will participate in student „„ Electroforming conceptualization, and refinement. This exhibitions, job fairs, and materials workshops „„ Rapid Prototyping approach provides you with a strong offered by leading furniture and materials „„ Forming and fabrication understanding of the innovation process, users, manufacturers. You will gain a unique „„ Lost-wax casting market forces, manufacturing, sustainability, perspective of the industry through lectures „„ Sophisticated stone setting and business practices. and symposia by award-winning designers, „„ 3D modeling visits to top design firms in the region, and „„ Working with mechanisms, mixed media, As an Industrial Design student, you will summer internships. and machining develop skills in visual communication, form development, and presentation, as well as Each of these experiential learning experiences And you will analyze the history of the field, strengthen your knowledge of manufacturing, will strengthen your communication skills, contemporary attitudes towards wearables ergonomics, and marketing. You also will demonstrate industry expectations, and and cultural objects, and significant artists study drawing, modeling, and computer-aided improve your understanding of designer- and their works. design, which are critical to developing and client relations. They also create a learning communicating ideas. Our goal is to balance atmosphere of collaboration, innovation, and Practice Makes Successful Artists your growth in fundamental knowledge and community. To grow as an artist, you will need to continually skills with your individual areas of interest. develop skills, improve your knowledge, and broaden your experiences. As a Jewelry and Gain Real-World Experience Metals major, you will accomplish all of these in the Classroom goals through studio and research assignments, Collaboration is an integral part of our program, presentations, exhibitions, and field trips. Each and our faculty use solution-driven methods year, you also will produce and submit work to teach students in a supportive, energetic to the juried Student Independent Exhibition, classroom environment. You will explore broad an annual display of student work held in the design concepts and problems, and learn Institute’s Reinberger Galleries, as well as our how to critically evaluate and refine solutions. Spring Show. You will work with students from other CIA programs, colleges, and businesses as well as several international companies to expose you to real-world challenges.

Each spring, you also will participate in CIA’s annual Spring Design Show. This exhibition of student work will allow you to refine your skills, gain firsthand exposure to industry practices, and network with professional designers. 34

Painting Photography Printmaking At the Cleveland Institute of Art, our Department At the Cleveland Institute of Art, we offer Influencing culture for centuries, printmaking of Painting has a long and illustrious history three tracks of study in photography: Digital embraces, utilizes, and challenges technology of producing successful artists. As a Painting and Photographic Arts, Film and Video, and as an experimental method to image making. major, you will acquire a broad knowledge of Publication Photography. In each track, you As a Printmaking major you will develop a the visual arts and an in-depth knowledge of will benefit from the expertise of a diverse, comprehensive approach to understanding, painting as a studio practice. committed faculty and a foundation in the defining, and making prints. traditional methods of photography— Prepare for Life as a Professional Artist film and chemistry. Develop Essential Skills for the At the core of our coursework is an Workplace understanding of what it takes to be a Develop a Range of Photographic Our coursework is designed to expand your professional artist. With this goal in mind, we Skills intellectual, creative, and critical abilities under provide our students with a solid foundation Our unique coursework will provide you with a the guidance of our committed faculty, who are in technical and problem solving skills, art rich and varied knowledge of the techniques widely-respected, practicing artists in the field. criticism and theory, and contemporary and aesthetics of photography. You will explore Using kinesthetic and theoretical learning styles, practices in the visual arts. an array of photographic and video materials you will acquire a broad knowledge of several including professional imaging equipment, print mediums including traditional intaglio, As a Painting student, you will experience digital and film cameras, studio lighting, and lithography, and relief printing as well as digital a wide range of approaches from abstract digital manipulation and enhancement. You media applications. and figural painting to alternative media and also will examine still and moving imagery installation. Your work will be guided by our processes, exposing you to film and video, You also will be tutored in creating a faculty of professional artists through individual digital editing, current RIP printing software, professional portfolio, developing grant-writing and group studio critiques, workshops, and the use of special effects. skills, and proper etiquette for successfully seminars, and special topics courses. In approaching dealers, curators, and collectors. addition, a series of special events such as A Supportive, Interactive Environment In addition, you will gain an understanding of exhibitions, artist visits, and scholar programs As a Photography student, you will learn how how to set up your own professional studio in will present you with the issues, challenges, to refine and communicate your distinct vision our Professional Practices program. and practices you can expect to face during in a creative, collaborative surrounding through your professional life. assignments, lectures, critiques, and one-on- Enjoy a Synergistic Atmosphere one discussions with instructors and In the Printmaking major, we emphasize You also will be tutored in creating a visiting artists. cooperation and teamwork with students professional portfolio, developing grant-writing and faculty investigating, challenging, and skills, and proper etiquette for successfully We encourage you to participate in exchange influencing the field together. Our structured approaching dealers, curators, and programs, international mobility studies, and program fosters a vigorous environment that collectors. You will learn how to set up your internships with professional artists and nurtures, challenges, and supports individual own professional studio in our Professional photographers. In addition, you have the vision and talent. Practices program. opportunity to attend onsite workshops and lectures sponsored by organizations and As part of the Visual Arts and Technologies Work in an Exciting, Collaborative companies, such as American Society of (VAT) Environment, you will share in an Atmosphere Media Photographers, Fujifilm, Leaf America, integrated curriculum studying other disciplines As part of the Visual Arts and Technologies Gretag MacBeth, Mamiya, Hasselblad, and within the environment including Drawing, (VAT) Environment, you will share in an Polaroid Corporation. Painting, Fiber + Material Studies, and integrated curriculum studying other disciplines Sculpture. You may take classes from our VAT within the environment including Drawing, We also invite professional journalists, critics, Environment Artist-in-Residence, a leading Printmaking, Fiber + Material Studies, and writers, collectors, curators, and museum and artist in his or her field. Sculpture. You also may take classes from and gallery directors to meet with you and critique work individually with our VAT Environment your portfolio. Each spring, you also will have an opportunity Artist-in-Residence, a leading artist in his or her to visit professional galleries and exhibitions, field. Each spring, you have the opportunity to such as the Whitney Biennial and The Armory visit professional galleries and exhibitions, such Show, in New York City. as the Whitney Biennial and The Armory Show, in New York City. 35

Sculpture Technology and Integrated Media Video Once a traditional discipline, the field of TIME–Digital Arts As a Video major, you will work in traditional sculpture has exploded with a myriad of Take your creative mind to a new level as you methods of video as well as assisted modern approaches since the 1950s. No longer work at the intersection of social media, culture, techniques of image creation. Student projects confined to the pedestal, sculpture-educated technology, and the studio arts. As a major in will incorporate cinematography, sound, lighting, artists create installations, performance pieces, our TIME–Digital Arts program, you will develop editing, photography, and animation. In addition, public art, social interventions, site-specific innovative, interactive media projects using you will experience the entire media-production works, and earthworks in addition to crafting video, web, photography, performance, and pipeline, including the use of digitally-based conventional object-based works. animation technologies. art and design strategies, storyboarding, sequencing, concept mapping, acting, pre- Unique Curriculum Creates Be at the Forefront of Interactivity production, and post-production. You also will Collaborative Surrounding As a TIME student, you can develop custom learn about the cultural and social impacts of As part of the Visual Arts and Technology (VAT) media tools, work with computer scripts, video and digital media. Environment, you will have the opportunity to produce interactive sound and video pieces, draw inspiration from other disciplines such expand gaming environments, or create A Fun, Collaborative Atmosphere as Drawing, Fiber and Material Studies, circuit bending sound instruments. You will Teamwork is a vital aspect of the studio Painting, and Printmaking. This integrated master interactive forms of media including experience at the Cleveland Institute of Art. approach to learning will give you a chance live media, performance, and linear media as As a Video major in the college’s Integrated to experiment with various presentation modes well as conceive, plan and program your own Media environment, you will be part of our including installation, performance, and site- software-based artwork. digital arts student community. You will take specific work. core courses with students from other majors Develop Creative Skills for Your Career in the environment. A regular exchange With the support and one-on-one instruction With our 9:1 student-to-teacher ratio, you will between students with differing perspectives from our diverse, talented faculty and VAT receive individual attention and mentorship that and techniques helps build team skills integral Environment Artist-in-Residence, you will will help you develop real-world experience. to brainstorming, character design, narrative establish a critical foundation of sculptural Our faculty, who are well-known professionals ideas, production, and presenting and design and studio skills. You also will study within the field, will provide you with an critiquing project outcomes. a broad range of sculptural techniques and important foundation in research, critical processes comprising: thinking and public speaking. In a collaborative Gain Experience, Become Inspired environment, you will develop the tools for We offer several opportunities to work „„ Fabrication creative problem solving and conceptual with professionals in the field of video. Our „„ Forging thinking. You also will explore strategies of talented faculty members, who have proven „„ Foundry casting integrating social activism with media art by success in video art, encourage and facilitate „„ Mold making examining the impact your work will have in students to submit finished work to national „„ Wood and metal design social, ethical, and cultural contexts. and international film festivals, including our own annual E.M.I.T. Student Film, Video, and Each spring, you also will have an opportunity Animation Festival. Plus, you will be inspired to visit professional galleries and exhibitions, by alternative and independent films at the such as the Whitney Biennial and The Armory Cleveland Institute of Art Cinematheque, Show, in New York City. named by the New York Times as one of the country’s best repertory movie theaters. 36 37

Section 4: Academic Policies, Procedures, and Services 38

Non-Discrimination Policy Learning is a two-way process. Through your Statement It is the policy of the Cleveland Institute of Art, academic and studio classes, you will learn in accordance with the provisions set forth by from your faculty. and Policy Title IX of the 1972 Education Amendment Act and Section 504 of the Rehabilitation Act of Through the assessment process, the faculty 1973 and other federal regulations, not to will learn how well our curriculum is working Statement on Freedom discriminate on the basis of race, color, creed, and how it might be improved. of Artistic Expression national or ethnic origin, gender, sexual The Institute believes in freedom of artistic orientation, age or disabilities, in employment Course Expectations expression. Artistic freedom is vital to both the practices, administration of educational policies, Course Syllabi cultural and political health of our society. It is admission, scholarship and loan programs, and At the beginning of each course, you will essential in a democracy that values and other college-administered programs and receive a syllabus that contains attendance protects the rights of the individual to espouse activities. policies, the course description, schedule of his or her beliefs. topics to be covered, assignments, expected Physical Challenges outcomes, grading guidelines, behavioral The Institute’s responsibility for and dedication The Institute’s buildings and facilities are expectations, materials needed, and other to securing the conditions in which freedom of equipped to accommodate students, faculty, information about the faculty member and artistic expression can flourish extends to all staff, and visitors with physical handicaps. course that provide a full picture of the course forms of artistic expression, including fine arts, However, the Institute is not a barrier-free and its requirements. The syllabus may be design, literature, and performance. The campus. Students with special needs or distributed by paper or electronically and will be opportunity to display or perform works of art concerns should contact the Office of conveyed during the first meeting of the class. at the Institute is made available through Academic Services. Visitors should contact the You should expect that faculty will conduct their several academic processes and procedures in Facilities Management and Safety Office. class in accordance with the published course which faculty members, students, and other information. In addition, the Office of Academic duly appointed individuals exercise their best http://www.cia.edu/academicResources/ Affairs maintains a file of all course syllabi. professional judgment. Among these registrarsOffice.php?action=calendar procedures are selection of gallery shows by Course Attendance the Gallery Committee, selection of artwork for Assessment It is in your best interest to attend all sessions student shows by selected appointed outside The Cleveland Institute of Art, like other colleges of the classes in which you are registered and jurors, or performances/displays as part of an and universities, is required by its accrediting to attend all associated lecture programs and approved curriculum. Such authorized displays associations to evaluate the success of its meetings. Your progress as an artist depends or performances, no matter how unpopular the curriculum on a regular basis; this process is not only on completion of assignments but also work might be, must be unhindered and free called “assessment.” During your career here at on full participation in dialogue with studio and from coercion. Members of the Institute the Institute you will participate in a variety of academic classes. Each faculty member has community and guests must reflect in their assessment activities. You will probably discretion in taking attendance and penalizing actions a respect for the right to communicated encounter your first assessment activity during habitual absences or tardiness, and will advise ideas artistically, and must refrain from any act new student orientation, and your BFA the class about what will be considered that would cause that right to be abridged. At exhibition will be your last assessment point as acceptable attendance for the purpose the same time, the Institute recognizes that the a student. There are other times in your college of grading. right of artists to exhibit or perform does not career (and as a CIA graduate) when you will be preclude the right of others to take exception to part of the Institute’s on- going assessment More than three weeks of class absences may particular works of art. However, this later right program. Your participation will be very helpful result in failure. Four weeks of absences will must be exercised in ways that do not prevent in ensuring that CIA’s programs and services result in failure. You must notify your faculty a work of art from being seen and must not meet your needs and those of future students. member if you will miss a class, and Academic involve any form of intimidation, defacement, Services if you will miss more than one class. or physical violence. The Institute rejects the Assessment looks at student work as If you have a problem with missed classes, claim of any outside individual or agency of the part of the evaluation of the Institute’s meet with an Academic Services staff member right to dictate the appropriateness or education program. to discuss your options. acceptability of the display or performance of any work of art in its facilities or as part of its Assessment in no way affects your grades, and Individual faculty members may require written educational programs. there is no way to prepare for assessment tests documentation of your illness or injury. Note or reviews. The faculty uses this information to that Student Health Services (SHS) does not evaluate the courses they teach and their provide documentation for class excuses. departments, and to make any changes Under certain circumstances, SHS will give you indicated by the assessment information. written verification of the date of your visit to 39

their office. If you are hospitalized or have an Class Trips The normal load for a degree-seeking student is extended illness, you should give permission to Faculty may conduct instruction-related trips or between 12 and 18 credits per semester. If you a staff member in Academic Services so they tours that require students to travel away from have a GPA of 3.5 and above, you may can communicate with SHS and the hospital the Institute and be absent from scheduled schedule more than 18 credit hours in a regarding your illness and assist you. You class times for courses other than the one for semester, and will be charged the per credit should contact your instructor(s) as soon as which the excursion is intended. Students must rate for the number of credits taken over 18. possible after an unavoidable absence. An notify the faculty of course meetings that will be You must see an academic advisor to get unexcused absence from a final critique or missed. In addition, all students must sign an permission to register for more than 18 credits. exam will result in automatic failure of the approved release form, in advance of the trip, course. You are required to notify a staff that declares that they will not make a claim The number of credits you have accumulated member in the Office of Academic Services against the Institute or its personnel/ toward your degree is evaluated regularly by prior to missing a final exam or critique. representatives for injury or damage sustained staff in the Registrar’s Office. Students showing while on the trip. Release forms should be credit deficiencies on their records are notified Appropriate Dress for Comfort and returned to your faculty member at least a week in writing prior to course selection for the next Safety before the trip. All CIA policies are in effect term and must meet with an academic advisor. Due to the nature of the work at the Institute, during sponsored excursions away from It is your responsibility to maintain standard how you dress each day may vary. campus. progress toward the degree and keep track of Appropriateness of the way you dress is best curriculum requirements. All degree-seeking determined by the kind of work involved. For Course Credit students receive credit standing updates each health and safety reasons, shirts, pants or Credit Definition and Accumulation semester from the Registrar prior to course skirts, and footwear are required. All credit-bearing courses offered by the selection for the next term. Cleveland Institute of Art are offered on a Course Work and Assignments semester credit hour basis. The fall and spring Credit by Portfolio Review (CPR) Course work (including in-class projects, semesters are each 16 weeks in duration, Note: The intent of the Credit by Portfolio homework, and written assignments) is including 15 weeks of instruction and one week Review process is to allow students an assigned by instructors in relation to the of studio critiques/final examinations. In the opportunity to have a body of work, completed requirements and learning objectives for each spring semester, an additional week of outside of scheduled course requirements, specific course. Course work completed for academic activity is added after crit/ reviewed for possible credit within the CIA one instructor’s class may not be turned in for examination week to accommodate the BFA curriculum. It was NOT designed to enable credit for another instructor’s class unless reviews and exhibitions. students to avoid taking a required CIA course approval has been granted in writing by all or to achieve credit for a course that they have instructors involved. Instructors may approve Three-credit studio courses meet once a week failed or for which an “Incomplete” has turned such a written request based on the following for a 5 hour clock day (2.5 hours in the morning to an “F.” considerations: and 2.5 hours in the afternoon). Students spend at last 6-8 hours in outside work each You may complete a body of work outside of 1. The proposed project is interdisciplinary in week for each studio course taken. Three- scheduled course requirements (e.g. during a nature and concept, and actively seeks to work credit Liberal Arts classes meet twice a week study abroad experience or through a across instructional areas in order to integrate a for a total of 2.5 hours a week. Students are non-credit internship) that you believe parallels range of media, forms, and/or techniques. expected to spend two hours in preparation for the work that is produced within a course at 2. The scope of the proposed project is each class hour each week. For internships, CIA. To get the requirements for the portfolio ambitious and will satisfy learning objectives three semester hours are earned for a minimum and arrange a review by faculty, you should and requirements in different but of 120 hours on the job. CIA offers a very contact staff in the Office of Academic Services complementary ways for each class. limited summer schedule of credit-bearing (OAS) by the end of the first week of the 3. The objectives and requirements must be courses. These courses meet for six hours a semester in which the review is desired. After clarified in writing by the student and all day, five days a week, for 3 weeks. For receiving the required materials from the OAS, instructors involved. information on specific courses or guidance on the Head of the appropriate major area will 4. The student understands that such a scheduling, contact Academic Services. conduct the review and notify you of the project will be evaluated separately by each outcome and return the signed form and instructor involved. Completion of the Institute’s degree materials to OAS. If credit is to be awarded, 5. The student must also define how and where requirements in four years assumes that a OAS will notify the Registrar and the review will the different and complementary aspects of student consistently carries the normal credit become part of your permanent record. You their proposed project fulfill separate load of 15-18 credits per semester. may not request a review under this process for requirements for each class. This will define the the same course more than once. grading criteria for individual instructors to assign separate grades for the larger project. 40

Applications for Credit by Portfolio Review for Actual evaluation of transfer credit requires that The Foundation Program transfer students must be made within the first an official transcript be received from the The Foundation program is designed to provide semester of enrollment at CIA. Work already college where the course was taken, and that a basis for advanced study in every major used to gain credit for another course or by the grade achieved is a “C” (2.0 on a 4 point through studio and liberal arts courses. other means may not be used to gain credit scale)) or better. The Registrar is responsible for through CPR. determining if the transcript is official, and for Transfer students will meet with an advisor recording the credit toward the degree during the admissions process and plan a All Foundation requirements must be requirements upon recommendation of the timeline for completion of all Foundation completed before you will be allowed to begin faculty. An inventory of approved courses is coursework. Any student who is out-of- the final year’s coursework associated with maintained in the Registrar’s office. sequence in program requirements or has preparation for the BFA culminating project Foundation deficiencies must meet with an (Thesis I or its equivalent). Thus it is critical that For currently enrolled students, CIA will academic advisor before registration each if you wish to apply for CPR for any Foundation consider transfer credit toward liberal arts semester until all deficiencies are met. course, you complete this process before you courses from any accredited institution in the complete the third year of the degree program. US, that has been passed with a “C” or better All students must complete Foundation studio (“Pass” or “Satisfactory” grades will not requirements by the end of the third year. A fee of $100 per credit awarded will be transfer) and fulfills a degree requirement (per Those deficient in studio Foundation courses charged for the Credit by Portfolio Review faculty approval) at the Institute. will not be permitted to begin the senior year process whether the credit is granted or not thesis/BFA preparation course(s). Current students may gain studio or liberal arts Transfer Credit credit for courses taken at a NASAD-accredited If you enter a major with deficiencies in Credit for college courses taken before college if the grade is a “C” or better, and the Foundation (FND) studio classes, the following enrollment at CIA is evaluated at the time of course is pre-approved and fulfills a degree will apply: admission to CIA and accepted credits become requirement at CIA. Contact the Academic part of the CIA academic record. Services office for a list of NASAD-accredited 1. All FND studio credits must be completed by programs. the end of the first year of the major If you wish to take a course at another college and apply the credit toward your CIA degree, Exceptions to any of the above methods of 2. If you enter a major with a FND studio you must have the course approved by CIA securing transfer credit must be approved by deficiency, you will be placed on “Foundation prior to registering at the alternate school. Start the faculty. The Registrar’s Office is the starting Warning” via a letter from the Office of the approval process at the Registrar’s Office. If point for this process. Academic Services. You will work with your the course description has been previously Official transcripts for all courses taken external advisor to address the deficiency as soon as approved, the Registrar will give you a to CIA must be sent directly to the Registrar’s possible. “Transient Student Form” which will indicate Office before transfer credit can be applied to approval of the course by CIA and can be your record. 3. If you finish the second year of the major presented to the college where you take the (third year of the curriculum) and still have a course. If the course must be reviewed by CIA Academic Variance FND studio deficiency, you will be placed on faculty before it can be approved, you may be For specific reasons, you may ask to take a “Foundation Probation” and will not be allowed required to obtain a syllabus or other lighter course load or change/substitute to enroll in fourth year courses until the FND information about the course for faculty review. courses within your required program of study. requirement(s) is complete. You may appeal Once the approval is made, you will obtain the You must submit a course waiver/substitution “Foundation Probation” sanctions to the “Transient Student Form” and can bring it to the form with the signature approval of your Academic Review Committee (Director of other college you attend. department head and the Dean of Faculty and Academic Services, Dean of Student Affairs, submit the form to the Office of Academic Dean of Faculty) if you feel that extenuating The evaluation and approval of a course for Affairs. If you are a first year student, your circumstances exist that prevent you from credit is the responsibility of a faculty member request will be reviewed by the Director of fulfilling the FND requirement. Appeals must be from the appropriate major or discipline. If the Academic Services. Course substitution forms in written form and be received by the Director course is acceptable as a substitute for a CIA are available from the Registrar or Academic of Academic Services at least one week prior to requirement, then the reviewing faculty member Services the first day of classes of the following semester. indicates the acceptability and how the course A meeting with the Director of Academic credit will be applied toward the student’s Services is strongly recommended prior to degree program. submission of the appeal. 41

Transfer and returning students may have the month before their first semester at CIA meeting your graduation requirements. If you special circumstances which impact their ability begins. If you have transfer credit, AP, IB, CLEP, are unsure about dropping a course, it is highly to follow the above timeline. Such students will or other college-level coursework, meet with an recommended that you meet with an advisor be evaluated during the admission process and advisor in Academic Services during summer before you initiate a course drop. No refunds or notified of any deficiencies. A timeline will be set orientation to determine your first schedule of additional charges will be incurred if you remain with an academic advisor or major faculty classes. within 12- 18 credit hours. See the refund member for completion of all FND requirements. timeline and policy below. If you enter CIA as a transfer student, your Enrollment and Registration transcript(s) and portfolio will be evaluated by You may withdraw from a course through the Enrollment Status the Registrar, the Foundation Environment tenth week of the semester. Course withdrawal If you have been admitted to study toward the Chair, and the Head of the major department (if forms must be completed and are available BFA degree, you are considered a matriculated placement beyond the first year is sought) for from staff in the Registrar and Office of student. Individuals in the process of meeting determination of transfer credits and year Academic Services. The form must be signed admission requirements and those whose placement. If you are placed beyond the first by the course instructor and the Registrar. objective is not a degree are classified as year, you will meet with an advisor in the Withdrawal after the tenth week will not be “special,” or non-matriculated students. Academic Services office during the summer permitted unless there are extenuating StART program or sometime prior to the start circumstances. If you withdraw from a course You may enroll as full-time (minimum of 12 of the semester of entry to determine your first after the mid-term grades are recorded, a “W” credit hours per semester), part-time (fewer schedule of courses. Schedules for first year will appear as the final grade but the mid-term than 12 credit hours in a semester), or on a students are set by the Registrar, with any grade will be recorded. special non-degree basis. If you wish to change transfer credits received taken into your enrollment status, you should consult with consideration. If the course from which you withdrew is an advisor in the Office of Academic Services. required in your curriculum, the course must be A change from full-time to part-time or Course selection for the next semester’s repeated. Withdrawing from a course may non-degree status may affect eligibility for classes occurs in November for Spring and in affect current or future scholarship and/or scholarships and/or financial aid. April for Fall semester. Advisors and faculty are financial aid eligibility. Contact the Director of available to assist in course selection. Making a Financial Aid for guidance on this point. Certification of Enrollment course reservation means that you will receive The Registrar is responsible for certification of your tuition bill and can thus pay it by mail. Withdrawal and Leave of Absence enrollment and verification of degrees awarded. Reserved courses must be paid for before you Official Withdrawal If you need to show that you are a full-time will be considered as registered for those When a student withdraws from a school, the student or are otherwise enrolled, contact the courses. If you have not completed the U.S. Department of Education has very strict Registrar’s Office. Allow two to three days for two-component registration process by the first rules that financial aid offices must follow to processing your request. day of class, your reserved courses will be determine the amount of funding that a student cancelled. If you have reserved courses and are earns as of the date of his/her withdrawal. Registration in good standing, you may use your CIA library Funds that are not earned must be returned to Registration at CIA has two components: card between semesters. the U. S. Department of Education and other course reservation and tuition payment. Both sources of funding. The rules require that the components must be completed each Adding, Dropping, or Withdrawing school determine the last day the student semester before you will be considered as an from a Course attended class. At CIA, the date of withdrawal enrolled student at CIA. If you have not During in-person registration week and the first is established by the last date the student completed course reservation and tuition five days of each term, you may add or drop attended class as reported by faculty to either payment by the end of the registration period courses. Courses added during this period are the Registrar or the Academic Services Offices. (first week of classes), you will not be permitted simply added to your course load (and you to enroll for that semester and cannot attend must see an advisor if you want to take more Students who withdraw from all courses and classes. All students must register regardless of than 18 credits). Dropped courses will not leave either the residence hall or CIA the financial aid being received or anticipated. appear on your transcript. (Courses from which Apartments, will be charged for tuition, You may not attend classes until your financial you withdraw between the end of the drop/add applicable fees, room and board (meal plan) obligations to CIA have been satisfied. Online period and the end of the withdrawal period based on the following schedule: course scheduling is available. appear on the transcript as a “W”; withdrawals after the specified period (see the Institute „„ 10% of tuition, applicable fees, and room New students who are attending college for the Calendar) will appear as an “F.”) You may drop charges will be charged (board charges will first time (including those who took college- from or add a course using CampusWeb. Either be calculated by Case Western Reserve level courses before graduating from high of these activities must be initiated by you. It is University) if the withdrawal date (last date school) receive their course schedules during your responsibility to be sure that you are student attended class) is during the first or 42

second weeks of the semester. due to the Institute; the student and/or his or Leave of Absence „„ 50% of tuition, applicable fees, room her family is responsible for paying any balance A “leave of absence” is defined as an absence charges will be charged (board charges will resulting from the return of federal, state, from CIA of one semester or less. Students be calculated by Case Western Reserve private or CIA-funded assistance. who are in good academic and financial University) if the withdrawal date (last date standing may request a leave of absence from student attended class) is during the third Questions about tuition refund calculations the Institute and are required to meet with an or fourth weeks of the semester. based upon withdrawal from the Institute adviser in Academic Services to complete the „„ 75% of tuition, applicable fees, room should be referred to the Office of Student process. In some cases, stipulations may be charges will be charged (board charges will Accounts. Any balance due resulting from the applied for their return to school. Students on be calculated by Case Western Reserve recalculation of tuition and fees and the a leave of absence should contact Academic University) if the withdrawal date (last date reduction of aid is due and payable in full. A Services to arrange for their readmission. student attended class) is during the fifth revised tuition statement will be sent once through the eighth weeks of the semester. costs and aid are adjusted. Payment options Members of the U.S. armed forces receiving „„ 100% of tuition, applicable fees, room will be disclosed then if a balance remains due. military benefits who are called into active duty charges will be charged (board charges will Withdrawal from the school does not relieve the will be granted a leave of absence for the be calculated by Case Western Reserve student of his/her financial responsibility to CIA. duration of their service. They should contact University) if the withdrawal date (last date Academic Services when they are ready to student attended class) is after the eighth Course Withdrawal resume their studies. week of the semester. Because tuition is normally assessed on a comprehensive basis, no refunds are issued Please note the following deadlines for The date of withdrawal is provided to the Office when a student withdraws from one or more readmission: July 15 (for fall semester) and of Financial Aid to determine the percentage of courses while remaining enrolled at the Institute December 1 (for spring semester). the term the student completed. Based on the . date the student last attended classes, the Unofficial Withdrawal Academic Implications of a Withdrawal Office of Financial Aid is required by the U. S. results when a student stops attending classes or a Leave of Absence Department of Education to determine how without official notification to the Office of In cases where students take a leave of many days of the semester passed when the Academic Services. Unofficially withdrawn absence or withdraw before the withdrawal student stopped attending class. This number students will be charged 100% of tuition, fees, deadline (end of week #10 of the semester), is divided into the number of days in the room and board regardless of when the student their courses will appear on the transcript with semester which the student was attending to stopped attending classes. a “W” designation. There will be no academic determine the percentage of the semester the credit earned. student completed. Involuntary Withdrawal In instances where students may be unable to In cases where students take a leave of If the withdrawal occurs after 60% of the function academically, or their physical or absence or withdraw after the withdrawal term has elapsed, no return of federal funds emotional health may endanger themselves or deadline (end of week #10 of the semester), is required. others, CIA reserves the right to separate their courses will appear on the transcript with them from the Institute so that they may seek “F” grades. Any exception to this policy would The Office of Financial Aid calculates the return appropriate care. occur when a “late withdrawal” is approved by of funds using a federally-prescribed formula. the Vice President of Academic + Faculty In all cases of student withdrawal, stipulations Affairs, following a successful student petition. Funds will be returned in the following order: may be applied for readmission. These may Such withdrawals are approved only in Federal Direct Unsubsidized Loans, Federal include, for instance, coursework at another exceptional cases. Direct Subsidized Loans, Perkins Loans, PLUS institution or documentation from a medical Loans. If funds remain after repaying all loan professional of readiness to resume a full Readmission amounts, the remaining funds are repaid to Pell course of study. Students who were in good academic standing Grants and Supplemental Educational when they withdrew from the Institute and have Opportunity Grants. If funds remain after Students interested in returning to CIA are been gone for more than one semester, or who repaying all federal loan and grant funds, the required to complete a formal application for attended another college that is not a CIA- remaining funds are repaid to State aid readmission; the form is available on the affiliated program, may apply for readmission programs, private programs and any CIA Admissions website. Students who are by completing the Application for Returning funded sources of financial aid accounts. reinstated will be expected to follow the Students, available online or from the curriculum in place at the time of their return. Admissions Office. Students who wish to be Students and their families should be aware considered for advanced studio placement that the requirement to return federal, state or Please note the following deadlines for based on work done at another college or who CIA funded assistance might result in a balance readmission: Jul 15 (Fall) and Dec 1 (Spring). withdrew from CIA before starting their major 43

will need to contact the Admissions Office to 2. Liberal Arts credit: 1 semester hour of credit Off-campus Study arrange a portfolio review. Transfer credit is earned for a minimum of 50 minutes of Off-campus study experiences are normally toward liberal arts requirements will be classroom instruction and 40 minutes of recommended for students during their considered upon submission of an official outside classroom preparation per week. sophomore or junior years or during the transcript from the college where the summers following these same years. coursework was taken. Normally, for a 3-credit experience, students should expect to meet with their faculty Eligibility: To be eligible for off-campus study, Students who were academically dismissed sponsor for the equivalent of one hour weekly students are required to be in good social from CIA may apply for readmission if they have throughout the entire semester. standing with the institution, with no successfully completed the requirements outstanding judicial sanctions. They are also outlined in their dismissal letter. These may Students should initiate the Independent Study required to be in good academic standing at include, for instance, coursework at another process by meeting with an adviser in the time of application for off-campus study institution or documentation from a medical Academic Services. Proposals must then be and to have a cumulative GPA of at least 2.5. professional of readiness to resume a full approved by a faculty sponsor, the department Finally, they may have no outstanding course of study. Students should first contact chair of the area where the credit will be Incomplete grades at the time of application or the Director of Academic Services, who will applied, and the Vice President of Academic departure for off-campus study. advise them about the readmission process, and Faculty Affairs. Approved proposals are and then submit the Application for Returning then submitted to the Registrar so they can be AICAD Mobility program: Students. The deadline to apply for readmission added to students’ course schedules. CIA is a member of the Association of for the fall semester is July 15, and the deadline Independent Colleges of Art and Design to apply for readmission for the spring semester Faculty sponsors of Independent Study (AICAD) and participates in the AICAD Mobility is December 1. courses will mentor students throughout the program. Students approved by the host semester and evaluate their coursework. college may spend a semester or academic Independent Study Faculty members must be approved by the year at another AICAD institution. While on Students who have a cumulative GPA of 2.5 or Vice President of Academic and Faculty Affairs Mobility, students pay tuition to CIA (and can higher are eligible to propose a semester-long to teach the proposed subject. use their financial aid awards and any Independent Study course, equivalent to three applicable CIA merit scholarship). A list of all credits of a liberal arts or studio elective. Cross-Registration AICAD members and the majors offered can be Normally, Independent Study courses are Subjects not offered at CIA or not available at a found at www.aicad.org. Further information available to enable students to pursue a topic of suitable time may be available at another and an application may be obtained from interest that is not available in the curriculum. college in the area. CIA has agreements with Academic Services. There is a limit of one three-credit Independent other area colleges that enable matriculated, Study per semester; a maximum of six credits full- time students in good standing to take one Study Abroad: of Independent Study are permitted in any course per semester during the academic year Students who wish to take courses at a college degree program. In certain circumstances, due at any one of these colleges as part of their or university outside the U.S. may do so for a to the proposed project scope, a 1.5-credit full-time load (minimum of 12 credits at CIA and summer, semester, or a year. Independent Study may be appropriate, and a maximum of 18 total credits including credits the accompanying course expectations will be at the other college) at no additional cost. CIA has agreements with several art and design adjusted accordingly. Independent Study Permission is granted by the college offering colleges overseas, and students may also credits are graded and cannot be taken on a the course on a space-available basis. Credits participate in programs offered overseas by Pass/Fail basis. are transferrable to CIA, provided they meet other U.S. colleges or universities, or enroll CIA degree requirements and have a grade of directly in another university. In some cases, In accordance with accrediting agency “C” or better. See the Registrar for cross- students will pay tuition directly to the other guidelines for all coursework, the following registration procedures. institution, while in others an exchange will be expectations are in place with respect to time made where students from an overseas school commitments for Independent Study: To date, CIA has cross-registration agreements will enroll at CIA while CIA students attend their with Case Western Reserve University, John college. In these exchanges, CIA students pay 1. Studio credit: 1 semester hour of credit is Carroll University, Cleveland Institute of Music, the Institute’s tuition and can utilize their CIA earned for a minimum of 1.667 contact hours Cleveland State University, and all campuses of financial aid package. Tuition and fees (100 minutes) of classroom instruction and Tri-C. Other agreements are underway, so ask associated with direct enrollment at other 2-2.667 hours (120-160 minutes) of outside the Registrar if you have any questions. institutions (other than exchange agreements) classroom preparation per week. vary greatly. 44

For information about opportunities, costs, Grades Grade Value Credit Value course approval, and to begin the study abroad Letter Grades Value For GPA process, contact the Dean of Student Affairs. A 4.0 3.0 12.0 Letter grades are a means by which the faculty A- 3.7 3.0 11 member communicates his/her professional B+ 3.3 3.0 9.9 Summer Study Options assessment of your performance. The primary B 3.0 3.0 9.0 B- 2.7 3.0 8 Summer study opportunities are available purpose of assigning grades is to provide you C+ 2.3 3.0 6.9 through many programs throughout the U.S., with a realistic standard of reference by which C 2.0 3.0 6.0 C- 1.7 3.0 5 and overseas. Information on these and all you can measure your progress while enrolled D+ 1.3 3.0 3.9 opportunities may be obtained through at CIA. D 1.0 3.0 3.0 Student Affairs. D- .7 3.0 2 F 0 3.0 0 Grades are reported twice each semester: If you wish to take a summer course(s) at mid-term grades after the first eight weeks and The instructor may also give a grade to indicate another college with the intent of transferring final grades at the close of the term. The his/her perception of a student’s commitment that course to your CIA degree, you must mid-term grade is a preliminary indication of as displayed in effort toward achievement. The contact the Office of the Registrar, identify the your progress to date. Only the final grade is effort grades are as follows: course, and have it reviewed and approved by entered into your official record. A dual grading appropriate CIA faculty before you take the system permits faculty to measure your E: Excellent course. Courses at other institutions that have accomplishment and effort separately. S: Satisfactory not been approved by CIA faculty before U: Unsatisfactory enrollment and/or have a grade below “C” will Semester and cumulative grade point averages not be considered for transfer toward the CIA are reviewed by Academic Services each term An “Unsatisfactory” effort grade indicates that degree. to determine each student’s academic status. the student’s attitudes and work habits Each transcript includes the semester Grade (regardless of the quality of work) do not meet Point Average (GPA) and the cumulative GPA. professional standards. The possibility of Letter grades have the following meaning: receiving a revision to an effort grade is at the discretion of the faculty member. A, A-: Work of consistently outstanding quality, which displays originality, and often goes Mid-term Grades beyond course requirements CIA records mid-term grades for each class. B+, B, B-: Work of consistently good quality, These grades are distributed to students and demonstrating a high level of proficiency, used for advising purposes by both faculty and knowledge and skills in all aspects of academic advisors, but are not calculated in the course the GPA. C+, C, C-: Satisfactory work that meets the requirements of the course and conforms to “Incomplete” Grade the standards for graduation Incomplete grades should be requested only for D+, D, D-: Work deficient in concept or serious extenuating circumstances, not simply execution but acceptable for course credit for failure to complete course requirements on F: Work unacceptable for course credit and time. does not meet the standards for graduation Requests for Incomplete grades must be student-initiated by means of the Incomplete Grade Request Form, available from the Registrar’s Office or Academic Services. Instructors may not issue Incomplete grades without students’ request or their permission.

In circumstances in which students are unable to get to or maneuver easily around campus, the Director of Academic Services or the Registrar may request Incomplete grades from instructors on their behalf, but only if they have first communicated their agreement to the Incomplete.

45

Midterm Incomplete grades are permitted, at opportunity to repeat the courses when they Course Repeat the discretion of faculty members, without are next offered. Please see the section on If you receive an “F” grade, you may repeat the students’ requests or consent. Course Repeat. same course at the Institute. The original “F” will remain on your record for the semester in Students on Academic Probation are not Students who have an Incomplete and wish to which it was earned, but it will not be included permitted to request Incomplete grades from change it to a revised grade must submit work in your CIA GPA. The repeated course and the any of their instructors. to their faculty member(s) at least one week new grade will be recorded in the semester in before the revised grade is due to allow which it was repeated. Students who have one or more Incomplete sufficient time for evaluation. grades in a given semester, and whose You may repeat a course that you passed in academic performance for that semester may Depending on the course, there may be a fee order to earn a higher grade. The original and place them on Academic Probation once the assessed for access to facilities or if materials repeated courses and grades, will be noted on Incomplete grade(s) is/are resolved, will be are required for completion of the course. the transcript as above. Provided that the grade advised of the requirement that they submit all Faculty members are responsible for informing for the repeated course was a “D” or higher, the outstanding course assignments by no later the Registrar’s Office of grade revisions. Grade new grade will be used in calculating your than the end of the fourth week of the next reminders for Incompletes will be issued from cumulative grade point average (GPA) and the semester. the Registrar’s Office only at the end of the previous grade will be excluded. semester. The due date for Incomplete grade revisions will Note that if you fail a course at CIA and repeat be determined by agreement between the Auditing a Course (AU grade) the course elsewhere, the credit, upon approval, instructor and the student. The due date may If you wish to take a course for audit (no credit) will transfer toward your CIA degree if the grade not extend beyond the end of the semester the tuition and fees charged will be at the same earned is a “C” or better. The actual value of following that in which the Incomplete grade rate as that charged if were taken for credit. A the grade earned elsewhere is not included in was issued. Incomplete grades not revised by course registered as an audit cannot be the calculation of your GPA at CIA, and the the agreed-upon deadline will revert to failures. changed to credit after the eighth week of the original “F” grade is not removed from the semester. Similarly, a course registered for calculation of your GPA. Requests for extensions for Incomplete grades credit cannot be changed to audit after the will not be permitted. eighth week of the semester. Grading Errors Grade revisions are only permitted to correct Incomplete grades issued in the spring Grades Excluded from the Calculation errors. They cannot be given for additional work semester could affect financial aid for the of the CIA Grade Point Average (GPA): submitted. If you believe that there is an error in following academic year. This should be „„ Grade of “W” due to withdrawal after the a grade awarded to you, you must contact the considered in determining the due date for the add/drop period faculty member who awarded the grade and Incomplete grade revisions. For financial aid „„ “Incomplete” grade they must complete the “Error in Grading” form purposes, the sooner the Incompletes are „„ “NG” grade submitted by the instructor due which is available to faculty from the Registrar. revised, the sooner the financial aid awards can to extenuating circumstances The complete form must be signed by the be adjusted or finalized. „„ “Audit,” “Satisfactory,” or “Pass” grades faculty member’s department head. The grade „„ Grades received in courses that were correction must be recorded by the end of the Incomplete grades issued in the fall semester transferred to CIA from another college semester following the term in which the course will be calculated as failures for the purpose of toward the CIA degree (see Transfer Credit) was taken. determining honorary scholarship eligibility. „„ “F” grades in courses that were repeated and satisfactorily passed. Note than only Academic Grievances If, at the time students request Incompletes, one “F” grade for a course can be replaced If you wish to register a complaint about course faculty determine that they have missed so and eliminated from GPA calculation. If the instruction or an evaluation of your much class time that the courses cannot be course was repeated and failed again, the performance in a class, first discuss your successfully completed by the end of the second any any subsequent failure will concern with the faculty member or instructor following semester, Incompletes may not be continue to be calculated in the GPA. involved. If you cannot resolve the matter in this permitted. If the requests are made within the discussion, meet with the Director of Academic prescribed period for course withdrawal Services for advice or to arrange mediation without penalty, students will be advised to between you and the faculty member. In the withdraw from the courses. If the requests are case of dispute over evaluation of your made after the prescribed period for course performance in a course, the Director may seek withdrawal has passed, grades will be assigned consultation with the head of the department in accordance with the work completed. In or the Dean of Student Affairs to achieve either case, students will be advised of the a resolution. 46

Academic Standing and Maintenance of Matriculation/ Completion of Foundation courses does not Dismissal Policies Continuation of Thesis guarantee acceptance into a major. Students Semester and cumulative grade point averages If you finish your course requirements but need who are not accepted into their first choice are reviewed by the Director of Academic to continue to work on your BFA thesis exhibit major, or who are accepted on probation, Services to determine each student’s academic using CIA facilities or in consultation with CIA should contact the Office of Academic Services status. The minimum requirement for good faculty and are not registered for any courses at for assistance. academic standing is a GPA of 2.0. Students CIA, you are required to remit a Non-enrolled below 2.0 are placed on Academic Probation. A Candidate Fee. This fee continues your Double Majors cumulative GPA of 2.0 is the minimum required association with CIA, and enables you to have In order to double major, students need to for graduation. The grades for courses use of CIA facilities and access to CIA faculty apply and be accepted to both majors. transferred toward CIA requirements are not while you are not enrolled but are working Completing both programs may take longer included in the calculation of the GPA at CIA. toward the completion of your BFA thesis. The than four years, depending on the combination Non-enrolled Candidate Fee is listed on the fee of majors. Academic Warning schedule at cia.edu. Continuation of work on To remain in good academic standing, students the BFA thesis without registration as a full-time A minimum 2.5 cumulative GPA is required must earn a minimum semester GPA of 2.0 and (12 credit) student may have implications for the at the time students declare a double major. a cumulative GPA of 2.0. Students who do not schedule of your loan repayment(s). Contact The following items should be considered achieve a semester GPA of at least 2.0 will be the Financial Aid Office for further information. for program planning purposes: placed on Academic Probation. They will be required to meet regularly with an adviser and Academic Processes Pursuing degree requirements: adhere to a learning contract. Students on Major Selection „„ Students must start the process by Academic Probation may not request an Students who begin CIA as a first year notifying Academic Services of their intent Incomplete grade in any of their courses. freshman will generally enter the major to double major. An advisor will discuss selection process during the Spring semester with them the process and provide an Students who do not achieve a cumulative GPA of their first year. You cannot be fully accepted overview of how the two majors will fit of at least 2.0 are subject to dismissal. Students into a major unless you have completed, have together. who earn a GPA of 1.00 or less in their first credit for, or are enrolled in the required „„ If, following this initial meeting, students semester of enrollment will be dismissed from Foundation courses. Exceptions to the choose to continue with the double major the Institute. requirement that all Foundation courses be process: completed before the major is begun must be „„ Academic Services will create a Students who are dismissed and who believe facilitated and approved by the Director of combined program of study for them. there are extenuating circumstances affecting Academic Services. As stated earlier, you will „„ Department chairs of both majors will their academic standing may appeal to the Vice not be allowed to register for your final year approve the program of study, which President of Academic + Faculty Affairs, whose (BFA thesis preparation) until all required will be a binding document of students’ decision will be final. Appeals must be in writing Foundation courses are completed. academic requirements. and be received by the Vice President in „„ Department chairs of both majors will accordance with the following deadlines: June To prepare for major selection, you are sign the Declaration of Double Major 15 (for fall readmission) and January 3 (for encouraged to meet with the department head, form that accompanies the program of spring readmission). It is highly recommended faculty, and students in the major to which you study. that students consult with the Director of intend to apply. Department open houses „„ Students should submit the signed Academic Services before filing an appeal. during major selection time offer an opportunity Declaration of Double Major form and to learn more about each area. Many program of study to the Registrar, who Students who were academically dismissed departments also have open studio times when will make official record of the action. from CIA may apply for readmission if they have non-majors can observe and participate in „„ If students decide to discontinue their successfully met the stipulations detailed within major-related studio activities. Advising is also double major at any point, they will their dismissal letter. These may include, for available if you need assistance in selecting a need to meet with an adviser in instance, coursework at another institution or major. You will be asked to indicate your first, Academic Services and complete a documentation from a medical professional of second, third and fourth choice of major. Declaration of Single Major (from readiness to resume a full course of study. Double Major) form. Questions about any of these requirements Acceptance into a major is dependent on should be directed to the Director of Academic portfolio review, academic preparation, and Services. Please see the section on may require an interview with faculty of the Readmission. major. Notification of major acceptance is made in writing from the Office of Academic Services. 47

Applying for degree certification: Change of Major Graduation and Commencement: Students with a double major should consult If you wish to change your major you are CIA holds its Commencement ceremony in with the department chairs of both majors, the required to file a Change of Major Request May. While a student may complete degree Registrar, and a Financial Aid Counselor before Form with the Registrar. You must also submit requirements at the end of the Fall semester, applying for degree certification. There are a portfolio of your work to the head of the there is no ceremony in December. financial aid implications if a student is certified department to which you want to transfer. The as graduated from one major and returns to Change of Major Request Form may be If you will complete all degree requirements complete the second major. In most instances, obtained from the Office of Academic Services. by the end of the spring semester of your last students should apply for concurrent year at CIA and have satisfied all outstanding graduation from both majors. Degree Requirements obligations to the Institute, you are eligible to Your CIA experience culminates with a BFA participate in the Commencement ceremony. The Federal Title IV financial aid programs are thesis and exhibition that entails presenting a During pre-registration for your final fall intended to assist you in completing your first body of self-initiated work, an oral defense and semester, you should complete the Application bachelor’s degree. If you complete the a written artist statement. for Graduation, available from the Registrar. requirements for one of your majors, apply for Completion of this form notifies the Registrar to graduation, and then are certified by the Candidates for the BFA degree from the include you in all communication concerning Registrar as having been awarded that degree, Cleveland Institute of Art are required to have preparation for graduation. you will have fulfilled the intent of the Title IV completed between 120 and 135 semester programs and will no longer be eligible for any credit hours, depending on their major field of If you are projected to have nine or fewer need-based funding from government sources. study. Approximately one-third of these credits credits outstanding at the end of your last In this case, you will be able to continue your are in Liberal Arts or General Studies, with the term of full-time study at CIA, and wish to enrollment at CIA to complete the second balance in the Studio areas (including the participate in the Commencement ceremony, major, but will not be eligible for any financial major). Individual departments (majors) may you must petition the faculty for permission. aid grants from governmental sources have specific course requirements among the The completed petition must be submitted (see below). Liberal Arts or Studio electives. Requirements to the Director of Academic Services. to complete a degree in your major can be So, unless you have a very special obtained from Academic Services. If you are projected to have more than nine circumstance that warrants it, or you expect to credits outstanding at the end of your final finance your continuing enrollment for the In addition to meeting credit and curriculum year, you are not eligible to participate in second major yourself, you should not apply for requirements, degree candidates are also Commencement ceremonies with your class. graduation until you have completed the required to present a BFA thesis exhibition for requirements for BOTH majors. evaluation by faculty and peers. Students are All students eligible for graduation are charged eligible to present their BFA if they have nine or a graduation fee as part of their tuition and fees Financial Aid and Scholarship implications: fewer credits outstanding toward their BFA in their last semester of enrollment. The fee There may be financial aid implications if you degree. A 2.0 cumulative GPA is required for covers various Commencement expenses, pursue two majors. Be sure to consult with graduation. including but not limited to cap and gown Academic Services and the Financial Aid office purchase, printing of diplomas, announcements, about these issues. You are informed of your credit standings tickets, and programs. Measurements for caps regularly throughout your course of study. and gowns and confirmation of names for Federal and State financial aid (including loans) If it is projected that you will have nine or fewer diplomas are taken by the Registrar’s Office for which you are eligible will continue provided credits outstanding for your degree completion during course selection for the Spring semester. you maintain your eligibility in all ways required at the end of your fourth year, you will be Caps and gowns (which are yours to keep) are (financial and academically) as long as you have scheduled for your BFA review. Note that any distributed during Commencement rehearsal, not been certified as having completed and student who is projected to be short any which usually occurs the day before the ceremony. graduated from one of the majors. number of credits by the end of their fourth year (the semester in which the BFA review will take Graduation announcements and tickets to the As you near the completion of at least one of place) will be ineligible for consideration for the Commencement ceremony are distributed by your majors, you are strongly encouraged to President’s traveling scholarships. the Registrar’s office approximately one month meet with a Financial Aid counselor to remind before graduation. Any student with an them that you are doing a double major, are If you have credit deficiencies, you may opt to outstanding account balance with any Institute nearing completion of one major, and discuss postpone your BFA review until the deficiencies department or office will not receive his/her what the best action would be for you to take are completed so you can participate in the diploma until all obligations have been satisfied. as you plan to complete the second major. President’s traveling scholarship competition Graduates with a tuition balance or unreturned and Commencement ceremony. library materials will not be allowed to participate in Commencement ceremonies. 48

Student Records be reported to your parents if you are under Transcripts Family Educational Rights and 21 years of age. Information considered as Transcripts must be requested in writing Privacy Act (FERPA) “directory” information may also be released with your signature on the request form. In accordance with the Family Educational without your prior written consent unless The form is accessible at cia.edu/registrar. Rights and Privacy Act (FERPA) of 1974 you notify the Institute in writing, by the end (and amended in 2008; ed.gov/policy/gen/ of the fourth week of classes, that you do Written requests may be mailed or faxed to guid/fpco/ferpa/index.html) you may inspect not wish to have the information released. the Registrar’s office (fax: 216.754.3385). and challenge school educational records The following is text from the Federal FERPA Email requests cannot be accepted. maintained in your name. The CIA FERPA website that indicates the expansion of Transcripts will be issued only if your policy defines a student as a person who information that can be shared in the account is in good standing with all attends or has attended the Institute. interest of student health and safety: administrative offices and institutional Educational records are defined as any departments. Transcripts for currently- record in any medium maintained by the “…Although FERPA does not permit enrolled, degree-seeking students are Institute which is directly related to a student disclosures of personally identifiable free-of-charge. Transcripts for former except for the following: personal records information on a routine, non-emergency students, alumni, and continuing education kept by a staff member that are not basis, the final regulations afford greater students carry a fee of $5 per transcript. accessible to other persons, records flexibility and deference to administrators so You must allow one week for transcript created and maintained by the Institute’s that they can bring appropriate resources to processing. Requests for a “rush” transcript operations or security offices for law bear when there is a threat to the health or (mailed within 24 hours) require an enforcement purposes, employment safety of students. Section 99.36 in the final additional fee of $15 (plus the cost of records where employment is not regulations makes clear that educational Express Mail if the service is requested). contingent on the fact that the individual is a agencies and institutions may disclose Transcript fees apply whether the transcript student, records maintained by a physician, information from education records to is official or unofficial. psychiatrist, psychologist, or other appropriate parties, including parents, recognized professional used only for whose knowledge of the information is Change of Address or Name treatment of a student, and alumni records necessary to protect the health or safety of If you change your address (permanent or containing information after the student is a student or another individual if there is a college) or phone number, you must inform no longer in attendance which does not significant and articulable threat to the the Registrar. Your receipt of grades, relate to the person as a student. health or safety of a student or other financial aid materials, and other important individual, considering the totality of the correspondence from CIA will depend on You may inspect and review your educational circumstances. the Institute having your correct contact records upon written request to the Registrar information. or the appropriate records custodian. There The final regulations clarify that under §§ will be no fee charged for photocopying a 99.5 and 99.36 an educational agency or If your name has changed, you must reasonable number of records. The Institute institution may disclose information to an provide a copy of your marriage certificate has the right to refuse you access to your eligible student’s parents in a health or or a copy of a court document that records under the following circumstances: safety emergency, regardless of whether indicates that your name has been you have an unpaid financial obligation to the student is a dependent for Federal changed legally. any Institute office or department, owe income tax purposes, and may disclose overdue materials or equipment to the information to parents under any If you wish to be known by a “preferred” library or other Institute office or department, circumstances if the eligible student is a name on campus, you may indicate that there is an unresolved disciplinary action dependent for Federal income tax name to the Registrar’s Office and it can against you, or the educational record purposes… be kept in your student record. requested is an exam or set of standardized test questions. The Institute’s complete FERPA policy is You will bear full responsibility for any available from the Registrar’s office, and is consequences resulting from your failure The Institute reserves the right to release distributed annually to all enrolled students. to report promptly a new address or your educational records without your a name change. written consent to school officials who have a legitimate educational interest in the records, and to your parents if you are claimed as a dependent for income tax purposes. At the discretion of the Institute, information regarding your abuse of alcohol or drugs not prescribed by a physician may 49

Section 5: Support Services 50

Academic Support Services If you request services due to a learning Writing + Learning Center Academic Advising difference or a physical challenge, you must Staff of the Center, located in the JMC Building, The Office of Academic Services, located in provide documentation before services can be can assist you with the following: JMC 120, provides academic advising on a provided or accommodations arranged. The walk-in basis and by appointment. LSS staff will work with you and your faculty „„ Generating ideas and developing members to determine what accommodations brainstorming strategies to get you started You have the opportunity to meet with an can be provided to meet your needs. „„ Organizing ideas, crafting a thesis academic advisor about curriculum planning, Accommodations are reviewed each semester. statement, restructuring an essay, clarifying course selection and other academic decisions. and expanding key points, following citation If you have several course or credit deficiencies If you know that you will need support services, guidelines, refining grammar and word at the end of a semester, you will be scheduled contact LSS as soon as you register for choices, etc. for advising during the course selection courses each term. This will give the staff time process, and will need an academic advisor’s to work with you and develop the support you You can use the Center’s resources throughout signature to register for courses. In your first will need. your CIA career, from developing your year you will be assigned to an advisor, and be first essays to polishing your BFA thesis. required to meet with him/her during your first Students with documented learning differences Appointments are not necessary, but if the semester at CIA. are accommodated by specialized support Center staff are busy, you may be asked to wait services including on-campus access to for help or return at another time. Most sessions You are expected to read and understand the the following: last about 30 minutes. The Center is staffed by academic policies explained in this Handbook, second, third, and fourth-year students who and to accept ultimate responsibility for the „„ text-to-speech software http://www. have both experience with writing at the college decisions you make. In no case will a degree synapseadaptive.com/wynn/wynn.htm level and training in various aspects of how to requirement be waived or an exception granted „„ voice recognition software tutor writing. Faculty and staff supervise the because you profess ignorance of regulations, „„ brain-mapping software http://www. student and work directly with students who or assert that the advisor or another authority inspiration.com/ need help. A member of the Learning Support did not inform you of academic policies or „„ books on CD http://www.rfbd.org/about. Services Office also assists students in the procedures. You are encouraged to meet with htm/ Center. The Center also provides services in an academic advisor whenever you have a the residence hall, and times are posted each question about any processes or concerns at Students supported by the office can also semester. CIA, and to review the materials sent to you receive, as needed: each semester. The Career Center „„ extended testing time The Career Center is dedicated to providing If you are out of sequence in your courses, „„ oral exams or exams administered in students and alumni with the necessary tools, on academic probation, or are otherwise controlled surroundings resources, and strategies that will assist them considered to be in academic peril, you will be „„ note-taking assistance in identifying and reaching their personal required to meet with your academic advisor „„ management assistance for executive career goals. For a full description of the before registering for the next semester. functioning Career Center’s services, go to www.cia.edu/ careercenter. Services include: Learning- and/or Physically- The Office also assists in the management and Challenged Students Learning staffing of the Center for Writing and Learning „„ One-on-one career advising by Support Services Support. This facility is available to students appointment Located on the first floor of JMC, the Learning who need assistance with writing and serves „„ Assistance with resumé and cover letter Support Services (LSS) Office provides on- as the main hub for specialized software for writing going course advising, study skills and time students with documented learning differences. „„ Coaching on interview techniques and job management workshops, and tutoring for all search skills CIA students. If you are seeking tutoring, you „„ A variety of handouts on job search will be assigned a peer tutor to assist with your strategies, networking and interview understanding of content, writing papers, and techniques preparing for tests in your liberal arts courses. „„ Connections to alumni for career exploration and information Students with special needs should contact the „„ Assistance in obtaining a credit or non- LSS as early as during the admission process. credit-bearing internship There is a special orientation for new students „„ On-campus recruiting program with learning challenges before the start of „„ Lifelong access to services to assist in each fall semester. career transition 51

Access to College Central, a comprehensive „„ A maximum of 3 credit hours may and screen potential companies carefully. You on-line system offering listings of opportunities be earned per semester during the are welcome to check with the Career Center including internships, freelance, competitions academic year. staff about any employer about whom you are and full-time career positions. http://www. „„ A minimum of 1.5 credit hours may be not familiar. collegecentral.com/cia The system allows earned in a semester. students and alumni to upload a resume and „„ A maximum of 6 credit hours may be Looking into freelancing? The Career Center portfolio so that potential employers view your earned during the summer. advises using a contract when engaging work and contact you. The College Central site „„ Each 3-credit experience requires a in freelance work. Guidance on creating a is www.collegecentral.com/cia. minimum of 120 clock hours of work. contract is available. „„ Each 1.5 credit experience requires a Internships minimum 60 clock hours of work. The Career Center lists work/study jobs An internship is a work-related learning „„ Students must develop expanded learning on College Central, and assists students in experience that provides students or recent goals for the internship if they stay for a completing the forms required to qualify for graduates with an opportunity to gain important second semester at the same internship employment. knowledge, experience, and skills in a particular site. career field. Internships can be paid or unpaid, „„ A fee of $100.00 per credit hour is required E. Jessica R. Gund Memorial Library part-time or full-time. Also, internships can for summer internships and is payable prior The Jessica R. Gund Memorial Library (located be credit-bearing or non-credit-bearing. to the start of the internship. on the top floor of the Gund Building) is a Internships are highly recommended for juniors „„ Credit will not be awarded retroactively special library for visual artists. Its collections and seniors; sophomores may also participate. after the internship is completed. include over 45,000 books, exhibition catalogs, The Career Center can help you prepare and and CD-ROMs; 130 current periodical search for an internship. It’s recommended that Rolling internships (those which begin subscriptions; 120,000 slides and access to you start looking for an internship at least one mid-semester and extend into the following over one million digital imageps; 1,700 sound semester before you would like to begin the semester) may be credit bearing. The recordings; 670 video tapes and DVDs; a experience. If you are an international student, experience must begin no later than the end of picture file; access to online databases and you must meet with the International Student the 8th week of the semester and be completed resources; 1,400 artists’ books; AV and digital Advisor to obtain approval before you can by no later than the end of the 8th week of the equipment; and computers, scanners, printers, work off-campus. You must meet the eligibility following semester. Students have the following and color and black and white photocopiers. requirements of class standing and GPA two (2) options: The library staff is available to: before you can take an internship. Contact the 1. Earning 1.5 credits by working 60 hours; OR internship coordinator for details. 2. Requesting a grade of Incomplete „„ answer your questions „„ explain how to do research, search Credit-bearing Internships Students pursuing a 3-credit rolling internship databases, and cite your sources Credit-bearing internships are normally will need to request an Incomplete grade from „„ guide you through finding images and recommended for students after the summer of their faculty sponsor and then submit the information sophomore year and for juniors and seniors. signed form to the Registrar. In accordance „„ help you find materials in our library and with CIA policy, an Incomplete grade not other area libraries To be eligible for a credit -bearing internship, revised by the stated deadline will revert to „„ show you how to request materials from students must: “failure.” other Ohio libraries „„ Have a minimum cumulative GPA of 2.5 ; „„ provide the materials that your studio and „„ Be in good academic standing at the Academic credit will appear on the official liberal arts faculty have put on course time the internship is initiated, with no transcript for the semester in which the reserve outstanding Incomplete grades (except in internship began. „„ and instruct you in equipment use cases where they are currently enrolled in a rolling internship); A non-credit-bearing internship is less Through CIA’s partnership with the libraries of „„ Have completed all Foundation courses; formal, but the Career Center encourages CWRU, the Cleveland Institute of Music, and and interns and employers to follow the general the Siegal College of Judaic Studies, you may „„ Be in good social standing, with no credit-bearing internship guidelines to maximize borrow items from these libraries. Gund Library outstanding judicial sanctions. the success of the experience. The Internship materials are identified as “CIArt” in the shared Coordinator is available to address concerns or online catalog. Your CIA ID is your library card Students can earn a total of 9 hours of issues during the internship period. and is required to borrow library materials. You internship credit during their academic career. are responsible for following library policies and The number of credits for which they are The Career Center exercises reasonable for returning materials to the library from which registering must be determined at the beginning precautions to qualify all opportunities and you borrowed them. of the internship. strongly advises students to also research 52

The Institute is also a member of OhioLINK, a being responsible for knowing the content or stop by and discuss your concerns or just talk. statewide association of college and university following the instructions or timelines indicated New students are especially invited to stop libraries. You may request materials from other in a message. by as adjusting to a new environment often OhioLINK libraries to be delivered to the Gund means uncertainty and personal challenges. Library for you. There is no cost, and requested Go to cia.edu/myCIA_student/ to find links that If you need additional assistance or these materials arrive in about one week. For more will help you set up your accounts for email professionals feel that they don’t have the information, ask the library staff. and Schoology, register for the e2Campus expertise to help you, they will refer you to notification system, and get information on how University Counseling Services (UCS) at Courtesy and overdue notices are sent to your to use the many technical resources available Case Western Reserve University (CWRU). If CIA email account, and you responsible for any on campus. you wish or if it looks like you might need the fines and bills you incur. All library materials assistance, a CIA counselor will accompany must be returned or paid for by the end of the You are responsible for using the technology you to UCS. semester, or grades and transcripts will be resources on campus in an appropriate held. Candidates for graduation are required to manner. The rules and regulations concerning You can go to CWRU Counseling Services have cleared their library account before they use of computing facilities on campus and the directly at 201 Sears Building (studentaffairs. can participate in commencement or receive a consequences of misuse, including illegal file case.edu/counseling). Walk-in counseling degree. sharing, are detailed in Section 8 of the is available without an appointment. Urgent Student Handbook. counseling and consultation for emergency To ensure a comfortable atmosphere for all, situations are available without an appointment. please silence your cell phone ringer and talk Digital Output Center Call 216-368-5872 or stop by for information on quietly. The library is a no-eating zone; liquids The Digital Output Center (Gund Building) how to use this service. An on-call counselor with lidded, spill-proof are permitted. specializes in fine art reproduction and display is available for emergencies after hours, on graphics for artists and designers. It was weekends and holidays. Call 216-368-5872 The library is generally open daily during the created by artists for artists and is dedicated and ask to speak with the university counselor semester. When classes are not in session, to producing the work that matches your on call. Counseling Services is staffed with the library has shorter hours. The hours are creative vision. You can be assured that your psychologists, psychiatrists, social workers, posted on the library’s door and on the library work is being printed according to standards counselors and doctoral level counseling website. The library’s online catalog and digital and methods used by artists and museums trainees who specialize in helping students resources are available, anytime, anywhere, to produce their own work. Archival prints adjust to these changes and to college life in and on any computer. Visit the library’s website produced at up to 2400 dpi provide stunning general. The cost of services is included in your at: http://www.cia.edu/library. The phone color and image quality on a wide variety of mandatory health services fee. numbers are 216-421-7440 and 216-421-7441. papers, films, canvas and fabrics. This service is provided at the cost of production to the Free workshops, seminars and groups are also Information Technology Support students, faculty and staff here at the Institute offered each semester by CWRU Counseling The Office of Information Technology, located and is a wonderful tool for producing and Services on topics including test anxiety on the first floor of the JMC Building, supports presenting digital work of all types. For forms, management, drug/alcohol education, women’s computing needs related to the academic prices, and more information, check http:// issues, stress reduction, students with children, programs. Contact the Technology Asset www.cia.edu/academicResources/student. and eating disorders. Workshop, consultation, Manager (at x7941) if you are interested in php?action=output counseling, and educational resources are purchasing a specific piece of software, or the available upon request and without additional Academic Computing Coordinator (at x7472) if Personal Support Services cost. you are having technical difficulties within the Personal Advising CIA environment. You can also email support@ The college years mark a time when you might Health Services cia.edu. face new challenges and undergo significant All full-time students are required to pay personal and social changes that can affect the current Health Services fee (see http:// All full-time and part-time students receive a CIA your academic performance, career plans, admissions.cia.edu/financial/TuitionandFees. email account. You are expected to use your personal life or relationships. Understanding cfm ). This fee entitles you to both health care CIA email account (for example: flastname@ and adjusting to these challenges and changes and professional counseling services through student.cia.edu) in all correspondence with is not always easy, and students often seek Case Western Reserve University. administrative staff and faculty, and to retrieve help from others. If you are experiencing broadcasts and notifications about events, concerns that are affecting your ability to keep The Case Western Reserve University Health activities, and emergencies on campus. up with classes or maintain a good social Service at 2145 Adelbert Road (http:// Messages from CIA will not be sent to other balance, help is available from the Director of studentaffairs.case.edu/health) provides email addresses. Failure to read a message Student Life and Housing and/or the Director comprehensive health care for Institute in a timely manner does not absolve you from of Academic Services. You are welcome to students. Brochures describing the services 53

provided by CWRU Health Services and the Advice concerning work eligibility and other CWRU Student Medical Plan are available in the issues is available from the Dean. All students Student Affairs Office and at the CIA Student on an F-1 visa must report to the Dean of Accounts Office. A full description of the CWRU Student Affairs at least once each semester. Health Plan is at http://studentaffairs.case.edu/ medicalplan/student/ Veterans’ Benefits CIA’s BFA program is approved for VA All new students are required to complete educational benefits and CIA is a “Yellow medical and immunization histories and to Ribbon”school. VA certifications for benefits return them directly to The Office of Student are processed through the Registrar’s Office. Life and Housing, which then files them Students must be accepted and enrolled in the with CWRU Health Services. The two forms degree program before enrollment certifications are “General Medical Information.pdf” and are forwarded to the VA. VA certifications for “Immunization Record.pdf” forms are found at new students are processed during the first http://studentaffairs.case.edu/health/forms/ week of the semester. Veterans should receive doc/NewStudentPacket0410.pdf. Student their first benefits check 4-6 weeks following medical histories are placed on file as a basis certification. Returning students may request for meeting future medical needs. Fulfilling advance payment of their first benefits check the requirements listed on the medical and during the summer. Advance payments are immunization history forms prior to enrollment sent directly to the CIA Student Accounts Office is necessary in order to file claims against and are applied directly to the student’s tuition insurance. For more information about CWRU account. Advance payment covers the first two Health Services, call 216-368-2450. months of benefits payments. All subsequent benefits checks are sent directly to the student. University Health Services is now using “Open Students must be certified by the Registrar’s Communicator,” an online appointment and Office for VA benefits every year in which they communication system. During your first are enrolled. Questions regarding VA benefits semester of enrollment at CIA, you will receive should be directed to the Registrar by phone a personalized email that includes instructions (216-421-7321) or by email ([email protected]). on how to access the system, your Case NetID (format is aaannn), and your 4 character PIN Legal Services (format aann). Once you set up your account, The CWRU Milton A. Kramer Law Clinic Center you can make online appointments, look is located on 11075 East Boulevard, next to the at test results, and have secure messaging Institute’s Gund Building (http://law.case.edu/ with UHS staff. Go to http://www.cia.edu/ clinic/). The Center, staffed by law students myCIA_student/ for instructions on setting up and supervised by practicing lawyers, offers your Open Communicator account. If you don’t free legal advice to students in such matters have your Case NetID and PIN, contact the CIA as landlord- tenant relationships and conflicts Registrar. as well as in civil and criminal problems. The Center is open weekdays from 8:30am–5pm. International Students For an appointment call 216.368 766. The Institute is approved by the US Department of State to issue documentation that will enable non-immigrant students to secure an F-1 student visa. Questions and problems regarding immigration matters or other international student concerns should be directed to the Dean of Student Affairs.

F-1 students are responsible for ensuring that they maintain valid status while enrolled at CIA. Advising concerning academic course loads, travel outside the US, employment during and after enrollment, and other visa issues is available from the Dean of Student Affairs. 54 55

Section 6: Financial Matters 56

Student Accounts Withdrawals Eligiblity for Financial Aid and Records of student accounts are maintained (see the academic withdrawal policy Standards of Satisfactory Academic by the Student Accounts Office, located in the on page 33 of this document ) Progress (SAP) JMC Building. Payments for supplies or items Residence Hall Contracts To receive financial aid from federal, state and purchased on campus, tickets for student If you live in the residence hall or an on-campus institutional aid programs at The Cleveland events, and other activities on campus are also apartment, your contract is binding for the Institute of Art, you must make reasonable taken at the Student Accounts Office. entire year. If you terminate your contract after academic progress toward your degree. the June 15th deadline for reservations for This includes maintaining at least a 2.0 GPA, Payment of tuition and fees is due at the time of the following year, or withdraw from CIA after completing 70% of the classes attempted each registration. An updated schedule of all tuition the first semester, you are liable for and will year, and a cut-off after exceeding a certain and fees is located at http://admissions.cia. forfeit the $150 room deposit, and will also be number of attempted hours without earning edu/financial/TuitionandFees.cfm charged an early termination fee of $500. a degree. You may view this policy from the Financial Aid Office web site at: http://cia.edu/ A hold on the release of grades or transcripts is If you take a leave of absence, study abroad, Financial_Aid/Policies.aspx placed on any student’s account that shows an or are separated from the Institute during a unpaid tuition balance or unpaid debts to any semester, you will not be charged the early Effect of Illegal Drug Violations on Institute departments or CWRU departments termination fee but will be charged for housing Financial Aid Eligibility from which CIA students or the Institute based on the Institute payment/reimbursement Students who are convicted of any offense receives services that are unpaid at the end schedule (above). You will also forfeit the under federal or state law involving the sale or of each semester. For detailed information on $150 deposit. possession of a controlled substance during tuition and fee payments or questions about a period of enrollment at the Institute while your account, please see the Student Financial Aid receiving Federal Student Aid funds are not Accounts Administrator. Filing the FAFSA eligible to receive future federal or state grants, Applications for federal, state, and institutional loans, or work-study assistance. You may also participate in a plan to spread aid should be filed by the March 15th prior your tuition and fee payments throughout to the expected Fall enrollment. All students If you are convicted of an offense, you are the year. See details on this option at should file the Free Application for Federal subject to an ineligibility period for the receipt www.tuitionpay.salliemae.com Student Aid (FAFSA) found at http://www. of support under federal and state financial aid fafsa.ed.gov/ early enough for the form to be programs. See the schedule on the following Refunds processed and received by the Financial Aid page for ineligibility period information. Full-time and part-time students who withdraw Office prior to the March 15 priority deadline. from individual courses (not a complete The financial aid process is an annual one, If you become ineligible for federal or state aid withdrawal from the Institute) will not receive so a FAFSA must be filed each year. Funding due to a drug conviction, you will be notified of a pro-rated refund for that course(s). Full-time priority will be given to students whose financial your loss of eligibility. tuition covers a credit load of from 12 to aid applications are processed by the March 18 credits. 15 deadline. Students must complete the To regain eligibility after conviction prior to the FAFSA and the Institutional CIA Financial stated ineligibility period OR if your ineligibility You should contact the Financial Aid Office Aid Application for full consideration. Links period remains indefinite, you may: before you withdraw from a course. The to all Financial Aid Office forms and helpful number of credits you take in a semester as information on types of aid, loans, worksheets, 1. Complete a qualified drug rehabilitation they support progress toward your degree etc. are found at http://www.cia.edu/ program that includes at least two has an effect on your financial aid standing. FinancialAid/Forms.aspx unannounced drug tests and satisfies at least Withdrawal from a course may also require that one of the following requirements: you refund aid received to either CIA or another Notification of Financial Aid Package funding source, so consultation with Financial Financial Aid awards will not be posted to your a. Be qualified to receive funds directly Aid is highly recommended so there are no account until all forms, signatures, verifications, or indirectly from a federal, state or local surprises later. and certifications are complete. Be attentive to government program; or deadlines and papers that need your signature If you anticipate a refund check for any reason, and return them to the Financial Aid Office on b. Be qualified to receive funds directly or contact the Student Accounts Office. time. Please view the Financial Aid Office web indirectly from a federally or state licensed site for the most current financial aid information insurance company; or available at: www.cia.edu/financialaid. c. Be administered or recognized by a federal, state or local government agency or court; or

57

d. Be administered or recognized by a federal your responsibility to apply for designated on- or state licensed hospital, health clinic or campus or off-campus work-study jobs on your medical doctor. own. A job opportunity bulletin board is located outside of the Financial Aid Office. Contact the If you have questions or concerns regarding Financial Aid Office for more information about your eligibility for federal or state funds as eligible off-campus opportunities. a result of a drug conviction while receiving Federal Student Aid, please contact the If you secure an FWS job, you must provide Financial Aid office at 216.421.7425. documentation about your eligibility to work. This includes completing a W-4 form and an I-9 form before working. For the I-9 form, a photo Disbursement of Funds and Bill ID and Social Security card are acceptable, or a Payment birth certificate or passport can be substituted. Awards on your Financial Aid Award letter will These documents must be originals. Paychecks not disburse and be posted to your student are deposited directly into your bank account, account until the Financial Aid Office receives so a void check from your bank must also be a signed award letter accepting the award(s), provided. and you have completed the electronic Master Promissory Note (MPN) for your federal loan(s) Part-time Employment (if you have any federal loans). The MPN Part-time jobs on campus as well as freelance website is www.studentloans.gov and you will projects are also available. On-campus jobs need your FAFSA PIN number to sign in. are posted outside the Office of Financial

Aid. Freelance, internship, summer, and other Disbursement of aid to your student account opportunities are posted on the College Central occurs after the start of each semester when site which is maintained by the Career Center. your financial aid file is complete, meaning that You may obtain your login and password all required and requested forms have been information to access College Central from the returned, and you are registered for classes. Career Center, located in the JMC Building. Private loans do not appear on your Student Account Billing Statement as “pending aid,” and will appear on your billing statement only after the funds are received from the lender (bank) and posted to your account. Please follow the instructions and paperwork included with your billing statement to ensure that you have deducted all of your awards (including loans) from your account balance. Billing statements are created and mailed to you by the Office of Student Accounts. Questions pertaining to your billing statement or about making payments should be directed to the Office of Student Accounts, located in the Joseph McCullough Center, phone number 216.421.7318. Drug Violation and Penalty Federal Work Study Program (FWS) FWS is a campus-based, federally funded Possession of an Illegal Substance Ineligibility Period program that provides aid awarded to students First Offense 1 year from date of conviction who have demonstrated need as determined Second Offense 2 years from date of conviction by the FAFSA. This funding in this award Third Offense and Beyond Indefinite period must be earned through employment and is payable by monthly direct deposit or paycheck. Sale of an Illegal Substance Ineligibility Period It cannot be deducted from the student’s First Offense 2 years from date of conviction billing statement. Most work-study jobs are Second Offense Indefinite period on campus, but there are some off-campus jobs that qualify for work-study funding. It is 58 59

Section 7: Student Life 60

Housing Recreational Facilities for FREE. Look for the advertisements of when On-Campus Housing On-campus residents can use the fitness new tickets will be available that are posted Taplin House is located in University Circle, facilities in the North Village with a swipe of their throughout campus. You can submit to the just two blocks from either of the Institute’s ID card. Other members of the CIA community online drawing for tickets at www.cia.edu/kulas. academic buildings. All unmarried, first-time must join a facility in the area for recreation. college students who are under 20 years of age For more information contact the Department are required to live in the residence hall for the You can purchase a semester or annual of Student Life at 216.421.7429. first full academic year. Students living with their membership at CWRU’s physical fitness parents or guardians within Cuyahoga County facilities near campus. (http://studentaffairs. Student Organizations are considered to be within commutable case.edu/athletics/facilities/membership.html). Student Leadership Council (SLC) distance to the Institute. Students new to the The Sam Emerson Physical Education Building, Make a difference on campus! Join Institute who are 20 years of age or older are located at 10900 Euclid Avenue, includes a Student Leadership Council! Comprised not given priority to live in on-campus housing. swimming pool, two weight rooms, squash of representatives from each academic If students in either of these categories desire and racquetball courts, fencing and wrestling department, student groups, and other to live on campus, they will be put on a waiting rooms, a rifle range, a large gymnasium and the concerned students, SLC meets once a month list according to the date of their housing Athletic Office. Facilities for track, basketball, to discuss issues they face on campus. They deposit. If there is housing available after baseball, volleyball, tennis and intramural sports then serve as a bridge between the student mid-July, those on the wait list will be assigned are also available. body and the faculty and staff. housing. All students living in the residence hall are required to join the Case Western Reserve Another option popular with students (because All recognized student groups receive funding University meal plan (a variety of meal plans is it is a month-to-month membership) is 1-2-1 through Student Leadership Council for their available) and take their meals in CWRU dining Fitness, located on Adelbert Street on the individual events. Student Leadership Council halls and cafeterias. Students on the meal plan CWRU campus (http://onetoone.case.edu/ also sponsors trips to cities such as New York, also receive a cash amount (CaseCash) which index.htm). Chicago and Washington DC. enables them to use the cash on their ID card in area restaurants and shops. After completion Activities Student Clubs of their first year of study, students will choose Student Activities There are a variety of clubs and organizations at their own living arrangements within the Looking for something to do on campus? The CIA. Many others exist at CWRU and are open local community. Office of Student Life and Housing offers a to students at both CIA and CIM (Cleveland variety of events and programs for you to take Institute of Music). If you’re interested in starting CIA maintains a limited number of apartments advantage of. Do you like Lazer Tag? We play a club or organization that does not yet exist, within one block of the JMC Building. Any alongside Star Wars characters. If you want contact Student Life and Housing to get a post-first-year student who wishes to live in to laugh, we host comedy nights, hypnotists, club application form and find out more about a CIA apartment will enter a lottery in Spring. and Kararoke. If you are into tradition, we have the process. Only approved student groups The number of apartments varies each year, that too. For over 60 years, CIA students have may receive funding from SLC to support their and the availability of CIA-operated apartments planned the Student Independent Exhibition activities. Depending on the membership, clubs is not guaranteed. (SIE) and the Student Halloween Party. Our may be more or less active each year. Check end of the year event, the Pink Pig, is also with Student Life about your interests. Off-Campus Housing something that you will not want to miss. If you are not required to live in the residence Community Service Club hall and want to live off-campus, the Athletic Activities Students at CIA love to serve the community! Department of Student Life maintains a list of Need to get out of the studio and stretch those The Community Service Club provides several available apartments near the campus and legs? Are you a high school athlete looking opportunities for service in the University Circle provides a “roommate wanted” board to assist to relive the glory days? Stop by the Office of neighborhood and in the greater Cleveland you in finding a CIA roommate(s). In addition, Student Life and Housing for information on community. Some of the past activities are Student Life holds several workshops to assist how to play intramurals at CIA. In conjunction BloodMobiles, Greater Cleveland AIDS walk, students in the transition from living on-campus with CWRU, sports ranging from ultimate Trunk or Treat at Halloween, the Kaboom to moving off-campus. Frisbee to flag football are at your fingertips. Playground build, and making dinner for the residents of the Hope Lodge. The Community Information and forms concerning on- Kulas Ticket Program Service Club also hosts an Alternative Spring and off-campus housing can be found at How about a little culture in your life? The Break service trip where students do a week’s http://admissions.cia.edu/life/housing. Kulas Ticket Fund, supported through a grant worth of service in another community…say cfm?menuID=4&subMenuID=41 from the Kulas Foundation, allows students New Orleans? Yep…they’ve been there. to attend performances from the Cleveland Orchestra, ballet, Broadway plays, and opera 61

CIA Activities Board (CAB) Fiber Club Supporting Student Enrichment Need a lift? Jump on the CAB wagon and This group is very active in the Cleveland Cleveland Institute of Art help plan or just participate in great acts like Community and is open to all majors. In Cinematheque comedians, illusionists, musicians, as well 2009, they worked alongside Metro Hospital The Cleveland Institute of Art Cinematheque, as activities like Star Wars Lazer Tag, the to create additions to the AIDS quilt that are founded in 1986, presents movies in CIA’s 616- annual T-Shirt design contest, and dodgeball now on display with the rest of the pieces seat, 35mm and SR stereo-equipped Russell B. tournament. CAB is also responsible for of their legendary piece of art. During their Aitken Auditorium. Videotapes and 16mm films the planning of great CIA traditions like the meetings, this group brings in guest artists are sometimes shown in CIA’s 100-seat Ohio Halloween Party and Pink Pig. to talk to students about different techniques Bell Auditorium. Both are located within the and careers in the field of Fiber. In addition to Institute’s Gund Building at the corner of East GLBT and Friends speakers, they take several trips and attend Boulevard and Bellflower Road in University Whether you are a GLBT (gay, lesbian, bisexual conferences each year. Circle. Free, lighted parking is available in the or transgendered) student or an ally, this adjacent CIA lot, located on the north and east group works to support GLBT students, while Photo Club sides of the building off of East Blvd. Entrance educating the campus about GLBT issues. CLICK! Photo club is a group that discusses the to the building is through the rear door, just off field of photography and critiques each other’s the parking lot and only steps from your car. Student Holiday Art Sale Committee work, brings in guest artists to talk to students Smoking is not permitted in the Institute. Want to make some money? The Student (majored or not), and sponsors trips to see Our facilities are fully accessible to the Art Sale in early December is an annual shows in the area and other cities like Chicago physically challenged. For more information, event where for $10 you can rent a table and New York. visit cia.edu/cinematheque. and sell your creations. Students from a variety of departments come together to sell Student Independent Exhibition (SIE) Continuing Education merchandise the weekend before final crits in Over 60 years old, the Student Independent Our Office of Continuing Education+Community Fall semester. Exhibition is a time-honored tradition and one of Outreach offers art and design classes for the shows featured in the Institute’s Reinberger adults and children throughout the year. We run Artists for Christ Galleries each year. The Exhibition is sponsored BASIC workshops—professional enrichment Artists for Christ is a student group that by the Student Leadership Council and offers opportunities for Northeast Ohio art educators. gathers weekly to bring together Christian art students the opportunity to introduce their And we coordinate a summer pre-college students. The purpose of Artists for Christ is to work to the public for viewing and/or sale. program for high school students who want promote the spiritual life of Cleveland Institute Show rules, jury selection, publicity, catalogs, to experience life as an art student. For more of Art students by providing opportunities for exhibit design and installation and the opening information, visit cia.edu/continuing_ed_ Christian spiritual growth through worship, reception are organized and coordinated by programs. fellowship, training and servant?! Outreach. students. All majors are encouraged to submit AFC is a local gathering of the Campus work for jury consideration. Galleries at CIA Crusade for Christ. Ask about their PB&J’s! CIA’s Reinberger Galleries annually host roughly ten exhibitions of art and design. All Glass Club are free and open to the public and many If you are into pot lucks and molten hot glass (at include lectures, films, or informal gallery talks. the same time is pretty interesting!), then this In addition to annual student, faculty and group is for you. Glass Club not only comes Scholastic exhibitions, recent exhibitions have together to talk about their own work, but featured works by internationally known artists brings in guest artists to talk to students about including Andy Warhol and Ansel Adams. different techniques in glassblowing. Best part: you do not have to be a major to enjoy the fun. Library The Jessica R. Gund Memorial Library has Amnesty International collections specifically developed for the Amnesty’s global mission is rooted in a visual artist, designer, and craftsperson. The fundamental commitment to the rights, dignity, library contains 45,000 books, exhibition and well-being of every person. Recipient of the catalogs, and CD-ROMs; 145 current Nobel Peace Prize, Amnesty’s more than 1.8 periodical subscriptions; over 125,000 art million members worldwide fight to uphold the and architecture slides as well as access to ideals enshrined in the Universal Declaration of a broad range of digital images; 1,600 sound Human Rights. recordings; 600 videotapes, DVDs, and films; a picture file for visual reference; access to online databases and full text resources; and an 62

extensive collection of “artists’ books” (books made by artists as works of art). In addition, the library has AV and digital equipment and color as well as black and white photocopiers. Together the library’s collections support the Institute’s accredited degree programs, with a special focus on providing materials for studio- intensive instruction. The library documents the major participants, events, and trends of international contemporary art, photography, craft, and design; includes theory and technical information as well as visual resources; and makes available a variety of professional, legal, and business information for artists. The library’s collection of contemporary art publications ranks with the best American colleges and universities, and its collection of “artists’ books” is nationally recognized.

Public Events Throughout the year, we host a wide variety of events that celebrate the diversity of visual art. You’re invited to join us. For more information, visit cia.edu. 63

Section 8: Degree Requirements 64

The Bachelor of Fine Arts degree is offered The capstone activity of the BFA program in 18 different majors. The courses required of study is public presentation and critique for graduation in each major are listed in this of the senior thesis. Called “the BFA section, and are specific to each program. Review” within CIA, the senior thesis is a A change of program might necessitate year-long project, conducted by the student additional time toward degree completion. in consultation with a faculty advisory committee. Most programs require a mid- CIA does not offer minors. Students year BFA review at the end of the fall term interested in pursuing their interests in of senior year, at which time the student areas of study outside their major should must present the work completed to that work with a faculty member and academic point, resulting in approval to continue to advisor to determine the appropriate work on the project or a requirement to pathway to follow. do additional work and present the work to the faculty again. If the student is not The attainment of a bachelor’s degree from approved to continue toward completion of CIA is the result of many different activities the BFA Review in the spring term, he/she including coursework, critiques of the will regroup with the faculty and determine student’s work as well as that of others, the next steps to be taken. Students cannot community involvement, and individual work be exempted from the BFA Review process, with faculty members. It is the culmination and the work must be presented in a public of a broad set of experiences within and forum, subject to review by faculty, students, beyond the classroom. and other invited professionals.

After the first year of Foundation studies, the Questions concerning the requirements for degree programs consist of a combination each major may be directed to an academic of studio courses within the major, advisor. complementary courses, and electives chosen according to the student’s interests. Along with studio courses, all students take a range of liberal arts courses meant to complement and support studio endeavors and complete the educational experience. These include but are not limited to art history, humanities and culture studies, language/literature/composition, and a social or natural science. Students may also elect to complete an emphasis in visual culture or a concentration in creative writing. Courses not offered at CIA are available to students at area colleges at the rate of one per semester (pending space availability at the host college), at no additional cost if taken within the 18 credit limit. 65

Freshman Fall Credits Freshman Spring Credits Animation FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits IME200 Visual Organization & Media...... 3 FVPA461 Video I...... 3 IME267 Image, Narrative, & Sequence...... 3 TIM209 Intro to Animation...... 3 IME201 Intro to Media BMA345 3D Modeling...... 3 Production & Integration...... 3 ACD486 Media Arts & Visual Culture ACD201 Critical Issues in Art (post-1960’s elective)...... 3 & Design History, 1945-Present...... 3 LLC 203 Writing & Inquiry III: Narrative Forms LLC203 Writing & Inquiry III: (if not taken in fall) OR Liberal Arts Elective *..... 3 Narrative Forms OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits TIM307A Intro to 3D Animation TIM308 Advanced 3D Animation (pre-reqs: (pre-req: Intro 3D Modeling)...... 3 Intro 3D Modeling & Intro 3D Animation)...... 3 BMA352 Digital Texture & Lighting...... 3 BMA400 2D/3D Compositing...... 3 TIM311 Sound Design...... 3 Open Elective...... 3 Open Studio Elective...... 3 Liberal Arts Elective *...... 3 GEN398 Professional Practices...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Senior Fall Credits Senior Spring Credits TIM401 BFA Preparation...... 3 TIM402 BFA Thesis & Exhibition...... 3 TIM412 Narrative Production I...... 3 TIM412A Narrative Production II...... 3 * The following liberal arts distribution elective IME320 Web Practice and Presence...... 3 Open Studio Elective...... 3 categories must be completed for graduation: Open Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 12 1 Art/Craft/Design History or Theory Elective Liberal Arts Elective *...... 3 1 Non-Western or Cross-Cultural Art/Craft/ Total Credit Hours...... 18 Design History or Theory Elective 1 Advanced Writing-Intensive Elective: LLC318 Screenwriting 1 Humanities or Lit/Language/Comp Elective 1 Social or Natural Science Elective 1 Open Liberal Arts Elective

Note: An optional 3-credit summer internship to be taken either during the summer between Sophomore and Junior year or between Junior or Senior year.

Effective for the 2012–13 Academic Year. 66

Freshman Fall Credits Freshman Spring Credits Biomedical Art FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits IME200 Visual Organization & Media...... 3 BMA264 Digital Color: BMA253 Natural Science & Zoological Style & Representation in Science...... 3 Illustration...... 3 BMA254 Intro to Digital Biomedical Illustration.3 BMA255 Human Forms: IME267 Image, Narrative, & Sequence...... 3 Heads, Hands, & Feet...... 3 BMA250 Anatomy for the Artist...... 3 BMA260 Line: Information Visualization...... 3 Post-1960s Art & Design History Elective BMA114 Principles of Biology (CWRU)...... 3 (from selected list)...... 3 ACD201 Critical Issues in Art BMA106 Human Biology (CSU) OR BMA225 & Design History, 1945-Present...... 3 Comparative Vertebrate Anatomy Total Credit Hours...... 18 (CWRU if offered)...... 3 Total Credit Hours...... 18

Junior Fall Credits Junior Spring Credits BMA345 Intro to 3D Modeling...... 3 TIM307A Intro to 3D Animation...... 3 BMA353 BMA: Advanced Media Concepts...... 3 BMA354 BMA: Advanced Problems, BMA359 BMA: Interactive Narratives...... 3 Concepts, & Media...... 3 BMA Special Topics: BMA356 Forensic BMA352 Surgical Illustration & Media...... 3 Modeling OR IME Open Studio Elective...... 3 BMA Special Topics: BMA407 Micro LLC203 Writing & Inquiry III: Narrative Forms... 3 Narratives OR IME Open Studio Elective...... 3 BMA116 Anatomy & Physiology I (CWRU)...... 3 BMA117 Anatomy & Physiology II (CWRU)...... 3 Total Credit Hours...... 18 Total Credit Hours...... 15

Senior Fall Credits Senior Spring Credits BMA405 BMA BFA Thesis Research...... 3 BMA406 BMA BFA Thesis & Exhibition...... 3 BMA Special Topics Course BMA Special Topics Course OR Open Studio Elect...... 3 OR Open Studio Elect...... 3 BMA Special Topics Course OR BMA Special Topics Course OR Open Studio Elect. in IME, VAT, or Design...... 3 Open Studio Elect. in IME, VAT, or Design...... 3 Advanced Writing Intensive LLC Elective IME320 Web Practice & Presence...... 3 (from selected list)...... 3 GEN398 Professional Practices **...... 3 Open Upper-Level Natural Science or Medical Total Credit Hours...... 15 Science Elective (CWRU) approved by chair..... 3 ** (Jr./Spring or Sr./Fall) Total Credit Hours...... 15

Note: Optional 0-credit Audit Summer Internship to be taken either during the summer between Sophomore and Junior year or between Junior and Senior year.

Effective for the 2012–13 Academic Year. 67

Freshman Fall Credits Freshman Spring Credits Ceramics FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits Intro Ceramics...... 3 Ceramics...... 3 CMC200 CMC Creative Process CMC201 CMC Language of Materials...... 3 & Materials Studies...... 3 Studio Elective...... 3 Ceramics Required Major Day...... 3 Post-1960s Art & Design History Elective ACD201 Critical Issues in Art (from selected list)...... 3 & Design History, 1945-Present...... 3 LLC203 Writing & Inquiry III: Narrative Forms LLC203 Writing & Inquiry III: (if not taken in fall) OR Liberal Arts Elective *..... 3 Narrative Forms OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits Ceramics...... 3 Ceramics...... 3 CMC300 CMC Surface & Image...... 3 CMC301 CMC Digital Modeling & Making...... 3 Studio Elective...... 3 Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 GEN398 Professional Practices...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Senior Fall Credits Senior Spring Credits Ceramics...... 3 Ceramics...... 3 CMC400 CMC BFA Research & Thesis...... 3 CMC401 CMC BFA Exhibition & Portfolio...... 3 Any CMC Studio Course...... 3 Any CMC Studio Course...... 3 Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 * The following liberal arts distribution elective Total Credit Hours...... 15 Total Credit Hours...... 15 categories must be completed for graduation:

1 Art/Craft/Design History or Theory Elective: ACD376X American Craft History OR ACD462 Des & Craft in Modern Culture 1 Non-Western or Cross-Cultural Art/Craft/Design History or Theory Elective 1 Advanced Writing-Intensive Elective (from selected list) 1 Humanities or Literature/Language/ Composition Elective 1 Social or Natural Science Elective 2 Open Liberal Arts Electives

Effective for the 2012–13 Academic Year. 68

Freshman Fall Credits Freshman Spring Credits Communication/ FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 Graphic Design FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 * The following liberal arts distribution elective ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 categories must be completed for graduation: Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: 1 Art/Craft/Design History or Theory Elective Basic Composition & Contemp Ideas...... 3 1 Non-Western or Cross-Cultural Art/Craft/ Total Credit Hours...... 18 Design History or Theory Elective 1 Advanced Writing-Intensive Elective (from selected list) Sophomore Fall Credits Sophomore Spring Credits CDS265 Design for Communication I...... 3 CDS266 Design for Communication II...... 3 1 Humanities or Lit/Language/Comp Elective CDS203 Typography I...... 3 CDS204 Typography II...... 3 1 Social or Natural Science Elective FVPA301 Digital Photo Imaging I...... 3 CDS238 Graphics for Design...... 3 2 Open Liberal Arts Electives ACD201 Critical Issues in Art Post-1960s Art & Design History Elective & Design History, 1945-Present...... 3 (from selected list)...... 3 ** These two studio classes are required unless LLC203 Writing & Inquiry III: LLC203 Writing & Inquiry III: Narrative Forms student has designed an alternative track with Narrative Forms OR Liberal Arts Elective *...... 3 (if not taken fall) OR Liberal Arts Elective *...... 3 the approval of the department chair. Total Credit Hours...... 15 Total Credit Hours...... 15

*** Professional Practices may be taken in senior year. Junior Fall Credits Junior Spring Credits CDS365 Design for Communication: CDS366 Des for Commun: Adv Studio II **...... 3 Adv Studio I...... 3 Digital Photo Imaging II or Open Studio Elect... 3 Tracks: CDS367 Contemporary Marketing **...... 3 Track or Open Studio Elective...... 3 „„ Typographic & Publication CDS360 Production Seminar...... 3 CDS305B Web Design/Interactive II...... 3 Hand Made Book I CDS305 Web Design/Interactive I...... 3 GEN398 Professional Practices ***...... 3 Hand Made Book II Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Publication Design (twice) Liberal Arts Elective *...... 3 Total Credit Hours...... 18 The Artist’s Book Total Credit Hours...... 18 Silkscreen „„ Information Design Visualizing Information Senior Fall Credits Senior Spring Credits CDS465 Communication Design : CDS466 Communication Design: Contemp Design Studio BFA Thesis...... 3 BFA Seminar...... 3 Information Architecture Internship (take junior or senior year)...... 3 Internship (take junior or senior year)...... 3 Hand Made Book Track Studio Elective...... 3 Track Studio Elective...... 3 Web Practice/Presence Liberal Arts Elect *...... 3 Open Studio Elective...... 3 „„ Interactive Design Liberal Arts Elect *...... 3 Liberal Arts Elective *...... 3 Information Architecture Total Credit Hours...... 15 Total Credit Hours...... 15 Motion Graphics Contemporary Design Studio Web Practice/Presence Sound Design „„ Marketing (Expanded) CDS367 Contemporary Marketing Packaging Design Motion Graphics Hand Made Book IND075 Marketing & Design

Effective for the 2012–13 Academic Year. 69

Freshman Fall Credits Freshman Spring Credits Drawing FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts,Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits VAT200 Image & Form...... 3 Drawing Major Studio...... 3 DRG220 Drawing: Intro to Advanced VAT202 Image & Form II: Observation, Illusionism, & Conceptualization.. 3 Reproducibility: Fiber OR Print-Media...... 3 Studio Elective...... 3 Open Studio Elective...... 3 ACD201 Critical Issues in Art ACD305 Visual Culture & Manufacture & Design History, 1945-Present...... 3 of Meaning (post-1960’s elective)...... 3 LLC203 Writing & Inquiry III: LLC203 Writing & Inquiry III: Narrative Forms Narrative Forms OR Liberal Arts Elective *...... 3 (if not taken fall) OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits Drawing Major Intermediate Studio...... 3 Drawing Major Intermediate Studio...... 3 VAT327 Hybrid Approaches to Studio Elective...... 3 Drawing & Painting: Dig Media...... 3 VAT300 Aesthetics, Style, & Content...... 3 VAT Studio Elective (outside of major)...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 GEN398 Professional Practices...... 3 Total Credit Hours...... 15 Total Credit Hours...... 18

Senior Fall Credits Senior Spring Credits Drawing Major Advanced Studio...... 3 Drawing Major Advanced Studio...... 3 Studio Elective...... 3 Studio Elective...... 3 VAT400 The Role of Artist as Producer...... 3 VAT Studio Elective (outside of major)...... 3 * The following liberal arts distribution elective Liberal Arts Elective *...... 3 VAT093 BFA: Statement & Exhibition...... 3 categories must be completed for graduation: LLC373W Art of the Personal Essay *...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15 1 Art/Craft/Design History or Theory Elective 1 Non-Western or Cross-Cultural Art/Craft/ Design History or Theory Elective 1 Advanced Writing-Intensive Elective: LLC373W Art of the Personal Essay 1 Humanities or Literature/Language/ Compostion Elective 1 Social or Natural Science Elective 3 Open Liberal Arts Electives

18 credits can be taken in one Junior semester only.

Effective for the 2012-2013 Academic Year. 70

Freshman Fall Credits Freshman Spring Credits Fiber + Material FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 Studies FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits VAT200 Image & Form I...... 3 FIB275 Weaving Patterns: Collective Activity *.. 3 FIB267 String, Felt, & Thread *...... 3 Studio Elective ***...... 3 FIB268 Sewing & Fabrication Processes *...... 3 VAT202 Image & Form II: ACD201 Critical Issues in Art Reproducibility: Fiber OR Print-Media...... 3 & Design History, 1945-Present...... 3 Post-1960s Art & Design History Elective LLC203 Writing & Inquiry III: (from selected list)...... 3 Narrative Forms OR Liberal Arts Elective **...... 3 LLC203 Writing & Inquiry III: Narrative Forms Total Credit Hours...... 15 (if not taken fall) OR Liberal Arts Elective **...... 3 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits FIB320 The Extended Body *...... 3 FIB376 Fiber Seminar: Open Studio Elective...... 3 Topics in Contemporary Culture *...... 3 * All Fiber courses designated with a * must be VAT Studio Elective (outside the major)...... 3 Open Studio Elective...... 3 completed for the major. However, the semester Liberal Arts Elective **...... 3 VAT300 Aesthetics, Style, & Content...... 3 in which each is offered may vary depending Liberal Arts Elective **...... 3 Liberal Arts Elective **...... 3 on the program needs. Total Credit Hours...... 15 Liberal Arts Elective **...... 3 GEN398 Professional Practices...... 3 ** The following liberal arts distribution elective Total Credit Hours...... 18 categories must be completed for graduation:

1 Art/Craft/Design History or Theory Elective Senior Fall Credits Senior Spring * Credits FIB377 Material Matters *...... 3 FIB476 Fiber Seminar: 1 Non-Western or Cross-Cultural Art/Craft/ Open Studio Elective...... 3 Topics in Contemporary Culture *...... 3 Design History or Theory Elective VAT400 The Role of Artist as Producer...... 3 Open Studio Elective...... 3 1 Advanced Writing-Intensive Elective: Liberal Arts Elective **...... 3 VAT Studio Elective (outside of major)...... 3 LLC373W Art of the Personal Essay LLC373W Art of the Personal Essay **...... 3 VAT093 BFA: Statement & Exhibition...... 3 1 Humanities or Literature/Language/ Total Credit Hours...... 15 Liberal Arts Elective **...... 3 Compostion Elective Total Credit Hours...... 15 1 Social or Natural Science Elective 3 Open Liberal Arts Electives

*** One semester of FIB271 Fiber: Digital Images, Patterns, & Structures is required for graduation. May be completed in sophomore, junior or senior year.

18 credits can be taken in one Junior semester only.

Effective for the 2012–13 Academic Year. 71

Freshman Fall Credits Freshman Spring Credits Game Design FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits IME200 Visual Organization & Media...... 3 FVPA461 Video I...... 3 IME267 Image, Narrative, & Sequence...... 3 TIM215 Introduction to Game Design...... 3 IME201 Intro to Media BMA345 Intro to 3D Modeling...... 3 Production & Integration...... 3 ACD486 Media Arts & Visual Culture ACD201 Critical Issues in Art (post-1960’s elective)...... 3 & Design History, 1945-Present...... 3 LLC203 Writing & Inquiry III: Narrative Forms LLC203 Writing & Inquiry III: (if not taken fall) OR Liberal Arts Elective *...... 3 Narrative Forms OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits TIM315 Level Design...... 3 BMA400 2D/3D Composting OR TIM309 Introduction to Animation...... 3 BMA347 Digital Texture & Lighting OR TIM320 Game Media Production I...... 3 Special Topics in Game Design...... 3 TIM307A Introduction to 3D Animation...... 3 TIM321 Game Media Production II...... 3 GEN398 Professional Practices...... 3 TIM319 Introduction to Game Programming..... 3 Total Credit Hours...... 15 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15

* The following liberal arts distribution elective categories must be completed for graduation: Senior Fall Credits Senior Spring Credits TIM401 BFA Preparation...... 3 TIM402 BFA Thesis & Exhibition...... 3 TIM420 Game Media Production III...... 3 TIM421 Game Media Production IV...... 3 1 Art/Craft/Design History or Theory Elective TIM411 Sound Design...... 3 Special Topics in Game Des 1 Non-Western or Cross-Cultural Art/Craft/ Special Topics in Game Des OR Open Studio Elective...... 3 Design History or Theory Elective OR Open Studio Elec...... 3 Liberal Arts Elective *...... 3 1 Advanced Writing-Intensive Elective: Social/Natural Science Liberal Arts Elective Open Liberal Arts Elective OR CWRU General LLC318 Screenwriting OR CWRU General Studies Course Studies Course (Programming, Math, Physics, 1 Humanities or Lit/Language/Comp Elective: (Programming, Math, Physics, Cognitive Cognitive Sci, Psychology) *...... 3 1 Social or Natural Science Elective or CWRU Science, Psychology) *...... 3 Total Credit Hours...... 15 General Studies Course Total Credit Hours...... 15 1 Open Liberal Arts Elective or CWRU General Studies Course:

Note: An optional 3-credit summer internship to be taken either during the summer between Sophomore and Junior year or between Junior or Senior year.

Effective for the 2012–13 Academic Year. 72

Freshman Fall Credits Freshman Spring Credits Glass FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits GLS243 Intro Glass...... 3 GLS244M Glass...... 3 CMC200 CMC Creative Process CMC201 CMC Language of Materials...... 3 & Materials Studies...... 3 Studio Elective...... 3 GLS243M Glass Major Day...... 3 Post-1960s Art & Design History Elective ACD201 Critical Issues in Art (from selected list)...... 3 & Design History, 1945-Present...... 3 LLC203 Writing & Inquiry III: Narrative Forms LLC203 Writing & Inquiry III: (if not taken fall) OR Liberal Arts Elective *...... 3 Narrative Forms OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits GLS343M Glass...... 3 GLS344M Glass...... 3 CMC300 CMC Surface & Image...... 3 CMC301 CMC Digital Modeling & Making...... 3 Studio Elective...... 3 Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 GEN398 Professional Practices...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Senior Fall Credits Senior Spring Credits GLS443M Glass...... 3 GLS444M Glass...... 3 CMC400 CMC BFA Research & Thesis...... 3 CMC401 CMC BFA Exhibition & Portfolio...... 3 Any CMC Studio Course...... 3 Any CMC Studio Course...... 3 Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 * The following liberal arts distribution elective Total Credit Hours...... 15 Total Credit Hours...... 15 categories must be completed for graduation:

1 Art/Craft/Design History or Theory Elective: ACD376X American Craft History OR ACD462 Des & Craft in Modern Culture 1 Non-Western or Cross-Cultural Art/Craft/ Design History or Theory Elective 1 Advanced Writing-Intensive Elective (from selected list) 1 Humanities or Literature/Language/ Composition Elective 1 Social or Natural Science Elective 2 Open Liberal Arts Electives

Effective for the 2012–13 Academic Year. 73

Freshman Fall Credits Freshman Spring Credits Illustration FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits IME200 Visual Organization & Media...... 3 IME267 Image, Narrative, & Sequence...... 3 ILL263 Fundamentals of Illustration...... 3 ILL264 Principles of Illustration...... 3 ILL260 Layout Rendering Techniques...... 3 ILL265 Character Design & Development...... 3 ACD201 Critical Issues in Art Post-1960s Art & Design History Elective & Design History, 1945-Present...... 3 (from selected list)...... 3 LLC203 Writing & Inquiry III: LLC203 Writing & Inquiry III: Narrative Forms Narrative Forms OR Liberal Arts Elective *...... 3 (if not taken fall) OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits ILL363 Illustration for Publication...... 3 ILL367 Graphic Novels & Sequential Art...... 3 ILL370 Professional Standards in Illustration ILL390 Community Projects: Illus & Production OR ILL389 Community Projects: Workshop (if not taken fall) OR ILL370 Illus & Production Workshop...... 3 Professional Standards in Illustration...... 3 ILL371 Visual Concepts in Illustration...... 3 ILL364 Illustration II...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Senior Fall Credits Senior Spring Credits ILL463A BFA Preparation...... 3 ILL464A BFA Thesis & Exhibition...... 3 * The following liberal arts distribution elective IME320 Web Practice & Presence...... 3 ILL464B Illustration Final Proj: categories must be completed for graduation: ILL463B Advanced Illustration Illus Portfolio/Visual Essay...... 3 Studio Projects...... 3 Open Studio Elective...... 3 1 Art/Craft/Design History or Theory Elective Open Studio Elective...... 3 Liberal Arts Elective *...... 3 1 Non-Western or Cross-Cultural Art/Craft/ GEN398 Professional Practices...... 3 Liberal Arts Elective *...... 3 Design History or Theory Elective Total Credit Hours...... 15 Total Credit Hours...... 15 1 Advanced Writing-Intensive Elective (from selected list) 1 Humanities or Literature/Language/ Compostion Elective 1 Social or Natural Science Elective 2 Open Liberal Arts Electives

Note: Optional 3-credit summer internship to be taken either during the summer between Sophomore and Junior year or between Junior and Senior year.

Effective for the 2012–13 Academic Year. 74

Freshman Fall Credits Freshman Spring Credits Industrial Design FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits IND235 Industrial Design...... 3 IND236 Industrial Design...... 3 CDS237 Graphics for Design...... 3 CDS238 Graphics for Design...... 3 IND285 Communication Skills...... 3 IND286 Communication Skills...... 3 IND239 Materials & Processes...... 3 Open Studio Elective...... 3 ACD201 Critical Issues in Art IND085 Ergonomics...... 3 & Design History, 1945-Present...... 3 Post-1960s Art & Design History Elective Open Studio Elective...... 3 (from selected list)...... 3 Total Credit Hours...... 18 Total Credit Hours...... 18

Junior Fall Credits Junior Spring Credits IND335 Industrial Design...... 3 IND336 Industrial Design...... 3 IND303 ID: 3D Modeling...... 3 IND336 Industrial Design...... 3 Open Studio Elective...... 3 IND304 ID: 3D Modeling...... 3 IND075 Marketing & Design...... 3 GEN398 Business & Professional Practices..... 3 LLC203 Writing & Inquiry III: LLC203 Writing & Inquiry III: Narrative Forms Narrative Forms OR Liberal Arts Elective *...... 3 (if not taken fall) OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Senior Fall Credits Senior Spring Credits IND435 Industrial Design...... 3 IND436 Industrial Design IND435 Industrial Design...... 3 (BFA Statemen/Exhib)...... 3 IND403 ID: 3D Modeling...... 3 IND404 ID: 3D Modeling...... 3 Liberal Arts Elective *...... 3 Open Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 * The following liberal arts distribution elective Total Credit Hours...... 15 Liberal Arts Elective *...... 3 categories must be completed for graduation: Total Credit Hours...... 15 OR 1 Art/Craft/Design History or Theory Elective 1 Non-Western or Cross-Cultural Art/Craft/ Design History or Theory Elective Senior Fall (Transportation Track) Credits IND435A ID Auto...... 6 1 Advanced Writing-Intensive Elective IND403 ID: 3D Modeling...... 3 (from selected list) Liberal Arts Elective *...... 3 1 Humanities or Literature/Language/ Liberal Arts Elective *...... 3 Composition Elective: Total Credit Hours...... 15 1 Social or Natural Science Elective 2 Open Liberal Arts Electives: 1)IND239 Materials & Processes; 2)IND085 Ergonomics

Effective for the 2012–13 Academic Year. 75

Freshman Fall Credits Freshman Spring Credits Interior Design FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits INT231A Interior Design...... 3 INT232A Interior Design...... 3 INT231B Interior Design...... 3 INT232B Interior Design...... 3 INT285 INT Communication Skills...... 3 INT236 INT Communication Skills...... 3 ACD201 Critical Issues in Art Open Studio Elective...... 3 & Design History, 1945-Present...... 3 Post-1960s Art & Design History Elective LLC203 Writing & Inquiry III: (from selected list)...... 3 Narrative Forms OR Liberal Arts Elective *...... 3 LLC203 Writing & Inquiry III: Narrative Forms Total Credit Hours...... 15 (if not taken fall) OR Liberal Arts Elective *...... 3 Total Credit Hours...... 18

Junior Fall Credits Junior Spring Credits INT331 Interior Design...... 3 INT332 Interior Design...... 3 INT333 INT Autocad...... 3 CDS238 Graphics for Design...... 3 CDS237 Graphics for Design...... 3 Studio Elective...... 3 INT385 Architecture & Communication Skills.... 3 GEN398 Professional Practices...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 18

Senior Fall Credits Senior Spring Credits INT431A Interior Design: INT432A Interior Design: BFA Survey...... 3 Senior Thesis Problem...... 3 INT432B Interior Design: Advanced Problems.. 3 INT431A Interior Design: Studio Elective...... 3 Senior Thesis Problem...... 3 Studio Elective...... 3 * The following liberal arts distribution elective INT431A Interior Design: Liberal Arts Elective *...... 3 categories must be completed for graduation: Senior Thesis Problem...... 3 Total Credit Hours...... 15 Liberal Arts Elective *...... 3 1 Art/Craft/Design History or Theory Elective Liberal Arts Elective *...... 3 1 Non-Western or Cross-Cultural Art/Craft/ Total Credit Hours...... 15 Design History or Theory Elective 1 Advanced Writing-Intensive Elective 1 Humanities or Literature/Language/ Compostion Elective 1 Social or Natural Science Elective 2 Open Liberal Arts Electives

18 credits can be taken in one Junior semester only.

Effective for the 2012–13 Academic Year. 76

Freshman Fall Credits Freshman Spring Credits Jewelry + Metals FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits MET249 Intro Jewelry & Metals...... 3 Jewelry & Metals Major Day...... 3 CMC200 CMC Creative Process CMC201 CMC Language of Materials...... 3 & Materials Studies...... 3 Studio Elective...... 3 Jewelry & Metals Major Day...... 3 Post-1960s Art & Design History Elective ACD201 Critical Issues in Art (from selected list)...... 3 & Design History, 1945-Present...... 3 LLC203 Writing & Inquiry III: Narrative Forms LLC203 Writing & Inquiry III: (if not taken fall) OR Liberal Arts Elective *...... 3 Narrative Forms OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits Jewelry & Metals Major Day...... 3 Jewelry & Metals Major Day...... 3 CMC300 CMC Surface & Image...... 3 CMC301 CMC Digital Modeling & Making...... 3 Studio Elective...... 3 Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 GNE098 Professional Practices...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Senior Fall Credits Senior Spring Credits Jewelry & Metals Major Day...... 3 Jewelry & Metals Major Day...... 3 CMC400 CMC BFA Research & Thesis...... 3 CMC401 CMC BFA Exhibition & Portfolio...... 3 Any CMC Studio Course...... 3 Any CMC Studio Course...... 3 Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 * The following liberal arts distribution elective Total Credit Hours...... 15 Total Credit Hours...... 15 categories must be completed for graduation:

1 Art/Craft/Design History or Theory Elective: ACD376X American Craft History OR ACD462 Des & Craft in Modern Culture 1 Non-Western or Cross-Cultural Art/Craft/ Design History or Theory Elective 1 Advanced Writing-Intensive Elective (from selected list) 1 Humanities or Literature/Language/ Composition Elective 1 Social or Natural Science Elective 2 Open Liberal Arts Electives

Effective for the 2012–13 Academic Year. 77

Freshman Fall Credits Freshman Spring Credits Painting FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits VAT200 Image & Form...... 3 Painting Major Studio...... 3 PTG221 Intro to Painting History (1828-2010)... 3 VAT202 Image & Form II: Reproducibility: Studio Elective...... 3 Fiber OR Print-Media...... 3 ACD201 Critical Issues in Art Studio Elective **...... 3 & Design History, 1945-Present...... 3 ACD305 Visual Culture & Manufacture LLC203 Writing & Inquiry III: of Meaning (post-1960’s elective)...... 3 Narrative Forms OR Liberal Arts Elective *...... 3 LLC203 Writing & Inquiry III: Narrative Forms Total Credit Hours...... 15 (if not taken fall) OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits Painting Major Intermediate Studio...... 3 Painting Major Intermediate Studio...... 3 Studio Elective **...... 3 Studio Elective **...... 3 VAT Studio Elective (outside of the major)...... 3 VAT300 Aesthetics, Style, & Content...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 GEN398 Professional Practices...... 3 Total Credit Hours...... 18

* The following liberal arts distribution elective categories must be completed for graduation: Senior Fall Credits Senior Spring Credits Painting Major Advanced Studio...... 3 Painting Major Advanced Studio...... 3 Studio Elective **...... 3 Studio Elective **...... 3 1 Art/Craft/Design History or Theory Elective VAT400 The Role of Artist as Producer...... 3 VAT Studio Elective (outside of major)...... 3 1 Non-Western or Cross-Cultural Art/Craft/ Liberal Arts Elective *...... 3 VAT093 BFA: Statement & Exhibition...... 3 Design History or Theory Elective LLC373W Art of the Personal Essay *...... 3 Liberal Arts Elective *...... 3 1 Advanced Writing-Intensive Elective: Total Credit Hours...... 15 Total Credit Hours...... 15 LLC373W Art of the Personal Essay 1 Humanities or Literature/Language/ Compostion Elective: 1 Social or Natural Science Elective 3 Open Liberal Arts Electives

** One digital studio elective (Digital Photo Imaging or other digital elective) is required for graduation

18 credits can be taken in one Junior semester only.

Effective for the 2012–13 Academic Year. 78

Freshman Fall Credits Freshman Spring Credits Photography FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits IME267 Image, Narrative, & Sequence...... 3 IME200 Visual Organization & Media...... 3 FVPA295 Mechanics of Digital FVPA301 Digital Imaging...... 3 & Film Photography...... 3 FVPA270 Fine Art of Silver Print...... 3 ACD348 History of Photo...... 3 Post-1960s Art & Design History Elective ACD201 Critical Issues in Art (from selected list)...... 3 & Design History, 1945-Present...... 3 LLC203 Writing & Inquiry III: Narrative Forms LLC203 Writing & Inquiry III: (if not taken fall) OR Liberal Arts Elective *...... 3 Narrative Forms OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits FVPA325 Contemporary Color Photography IME320 Web Practice & Presence...... 3 in Theory & Practices...... 3 FVPA330 Visual Thinking FVPA392 Fundamentals of Studio Lighting...... 3 in Contemp Photography...... 3 FVPA393 Large Format: Digital & Film...... 3 Open Studio Elective...... 3 Liberal Arts Elective *...... 3 Open Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

* The following liberal arts distribution elective Senior Fall Credits Senior Spring Credits FVPA495M BFA Thesis/Research...... 3 FVPA496M BFA Thesis & Exhibition...... 3 categories must be completed for graduation: Photo Major Studio Elective...... 3 Photo Major Studio Elective...... 3 Open Studio Elective or Internship...... 3 Open Studio Elective...... 3 1 Art/Craft/Design History or Theory Elective: VAT400 Role of Artist as Producer...... 3 Liberal Arts Elective *...... 3 ACD348 History of Photo GEN398 Professional Practices...... 3 Liberal Arts Elective *...... 3 1 Non-Western or Cross-Cultural Art/Craft/ Total Credit Hours...... 15 Total Credit Hours...... 15 Design History or Theory Elective 1 Advanced Writing-Intensive Elective (from selected list) 1 Humanities or Literature/Language/ Compostion Elective 1 Social or Natural Science Elective 2 Open Liberal Arts Electives

Note: Optional 3-credit Summer Internship to be taken either during the summer between Sophomore and Junior year or between Junior and Senior year.

Effective for the 2012–13 Academic Year. 79

Freshman Fall Credits Freshman Spring Credits Printmaking FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits VAT200 Image & Form I...... 3 PRI201 Print: Image Construction II: PRI200 Print: Image Construction I: Form & Color...... 3 Line & Sequence...... 3 VAT202 Image & Form II: Reproducibility: Open Studio Elective...... 3 Fiber OR Print-Media...... 3 ACD201 Critical Issues in Art Open Studio Elective...... 3 & Design History, 1945-Present...... 3 ACD305 Visual Culture & Manufacture LLC203 Writing & Inquiry III: of Meaning (post-1960’s elective)...... 3 Narrative Forms OR Liberal Arts Elective *...... 3 LLC203 Writing & Inquiry III: Narrative Forms Total Credit Hours...... 15 (if not taken fall) OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits PRI377 The Liberated Print: (Multiple/One) PRI376 Expanded Print: Investigation of Alternative Methods...... 3 New Media & Imaging...... 3 VAT327 Hybrid Approaches to Open Studio Elective...... 3 Drawing & Painting: Dig Media...... 3 VAT300 Aesthetics, Style, & Content...... 3 VAT Studio Elective (from outside the major)..... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 GEN398 Professional Practices...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

* The following liberal arts distribution elective Senior Fall Credits Senior Spring Credits PRI432 The Artist’s Book Now: PRI440 Propaganda, Media, Dissemination...... 3 categories must be completed for graduation: Narrative & Form...... 3 Open Studio Elective...... 3 Open Studio Elective...... 3 VAT Studio Elective (from outside of major)...... 3 1 Art/Craft/Design History or Theory Elective VAT400 The Role of Artist as Producer...... 3 VAT093 BFA: Statement & Exhibition...... 3 1 Non-Western or Cross-Cultural Art/Craft/ Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Design History or Theory Elective LLC373W Art of the Personal Essay *...... 3 Total Credit Hours...... 15 1 Advanced Writing-Intensive Elective: Total Credit Hours...... 15 LLC373W Art of the Personal Essay 1 Humanities or Literature/Language/ Compostion Elective 1 Social or Natural Science Elective 3 Open Liberal Arts Electives

18 credits can be taken in one Junior semester only.

Effective for the 2012–13 Academic Year. 80

Freshman Fall Credits Freshman Spring Credits Sculpture FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits VAT200 Image & Form I...... 3 FVPA461 Video I...... 3 SCU229 Intro to Sculpture: VAT202 Image & Form II: Basic Materials & Techniques...... 3 Reproducibility: Fiber OR Print-Media...... 3 Open Studio Elective...... 3 SCU229A Sculpture: Materiality ACD201 Critical Issues in Art & The Aesthetics of Fundamental Sculpture..... 3 & Design History, 1945-Present...... 3 ACD305 Visual Culture & Manufacture LLC203 Writing & Inquiry III: of Meaning (post-1960’s elective)...... 3 Narrative Forms OR Liberal Arts Elective *...... 3 LLC203 Writing & Inquiry III: Narrative Forms Total Credit Hours...... 15 (if not taken fall) OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits SCU370 The Rhetorical Object: SCU330A Installation: Light & Sound...... 3 Conceptual Constructions...... 3 Open Studio Elective...... 3 BMA345 Intro to 3D Modeling...... 3 VAT300 Aesthetics, Style, & Content...... 3 VAT Studio Elective (outside of major)...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 GEN398 Professional Practices...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Senior Fall Credits Senior Spring Credits SCU427M Sculpture: BFA Research...... 3 SCU428M Independent Open Studio Elective...... 3 Research Project/BFA Exhibition...... 3 * The following liberal arts distribution elective VAT400 The Role of Artist as Producer...... 3 Open Studio Elective...... 3 categories must be completed for graduation: Liberal Arts Elective *...... 3 VAT Studio Elective (outside of major)...... 3 LLC373W Art of the Personal Essay *...... 3 VAT093 BFA: Statement & Exhibition...... 3 1 Art/Craft/Design History or Theory Elective Total Credit Hours...... 15 Liberal Arts Elective *...... 3 1 Non-Western or Cross-Cultural Art/Craft/ Total Credit Hours...... 15 Design History or Theory Elective 1 Advanced Writing-Intensive Elective: LLC373W Art of the Personal Essay 1 Humanities or Literature/Language/ Composition Elective 1 Social or Natural Science Elective 3 Open Liberal Arts Electives

18 credits can be taken in one Junior semester only.

Effective for the 2012–13 Academic Year. 81

Freshman Fall Credits Freshman Spring Credits TIME FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 Digital Arts FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application...... LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits IME200 Visual Organization & Media FVPA461 Video I...... 3 OR VAT200 Image & Form I...... 3 TIM213 Intro to Electronic Arts: IME267 Image, Narrative, & Sequence OR Coding, Hacks, & Space...... 3 SCU229 Intro Sculpture OR TIM211 Sound Design...... 3 FIB267 String, Felt, Thread...... 3 ACD486 Media Arts & Visual Culture IME201 Intro to Media (post-1960’s elective)...... 3 Production & Integration...... 3 LLC203 Writing & Inquiry III: Narrative Forms ACD201 Critical Issues in Art (if not taken fall) OR Liberal Arts Elective *...... 3 & Design History, 1945-Present...... 3 Total Credit Hours...... 15 LLC203 Writing & Inquiry III: Narrative Forms OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits TIM313 Code as Art: TIM316 Experiments in Electronic Arts I...... 3 Programming for Artists...... 3 IME320 Web Practice & Presence...... 3 IME340 Creative Resistance: Media Art TIM306 Moving Images in Space...... 3 in the Social Sphere...... 3 Liberal Arts Elective *...... 3 Open Studio Elective...... 3 Liberal Arts Elective *...... 3 Open Studio Elective...... 3 Total Credit Hours...... 15 Liberal Arts Elective *...... 3 * The following liberal arts distribution elective Total Credit Hours...... 15 categories must be completed for graduation:

1 Art/Craft/Design History or Theory Elective Senior Fall Credits Senior Spring Credits TIM401 BFA Preparation...... 3 TIM402 BFA Thesis & Exhibition...... 3 1 Non-Western or Cross-Cultural Art/Craft/ TIM416 Experiments in Electronic Arts II...... 3 Open Studio Elective...... 3 Design History or Theory Elective Open Studio Elective...... 3 Open Studio Elective...... 3 1 Advanced Writing-Intensive Elective: Open Studio Elective...... 3 Liberal Arts Elective *...... 3 LLC393 Creative Writing OR Liberal Arts Elective *...... 3 Total Credit Hours...... 12 LLC391 Dialogue and Story GEN398 Professional Practices...... 3 1 Humanities or Lit/Language/Comp Elective Total Credit Hours...... 18 1 Social or Natural Science Elective 1 Open Liberal Arts Elective

Note: An optional 3-credit summer internship to be taken either during the summer between Sophomore and Junior year or between Junior or Senior year.

Effective for the 2012–13 Academic Year. 82

Freshman Fall Credits Freshman Spring Credits Video FND117 Drawing I...... 3 FND118 Drawing II...... 3 FND107 Design I...... 3 FND108 Design II...... 3 FND107L Design Woodshop Lab...... 0 FND130 Environmental Studio Elective...... 3 FND103D Digital Color...... 1.5 FND104 Digital Synthesis...... 3 FND103M Material Color...... 1.5 ACD102 Critical Issues in Art FND140A Charette: & Design History, 18th C-1945...... 3 Collaboration & Community...... 1.5 LLC102 Writing & Inquiry II: FND140B Charette: Self & Other Voices...... 1.5 Research & Intellectual Traditions...... 3 ACD101 Art History, Ancient-18th C: Total Credit Hours...... 18 Concepts, Themes, Methods...... 3 Point of major application LLC101 Writing & Inquiry I: Basic Composition & Contemp Ideas...... 3 Total Credit Hours...... 18

Sophomore Fall Credits Sophomore Spring Credits IME200 Visual Organization & Media...... 3 FVPA461 Video I...... 3 IME267 Image, Narrative, & Sequence...... 3 FVPA301 Digital Photography I...... 3 IME201 Intro to Media TIM211 Sound Design...... 3 Production & Integration...... 3 ACD486 Media Arts & Visual Culture ACD201 Critical Issues in Art (post 1960’s elective)...... 3 & Design History, 1945-Present...... 3 LLC203 Writing & Inquiry III: Narrative Forms LLC203 Writing & Inquiry III: (if not taken fall) OR Liberal Arts Elective *...... 3 Narrative Forms OR Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Total Credit Hours...... 15

Junior Fall Credits Junior Spring Credits FVPA497 Video II...... 3 TIM340 Experimental Video OR TIM309 Introduction to Animation...... 3 TIM304 Motion Graphics...... 3 FVPA392 Fundamentals of Studio Lighting...... 3 TIM306 Moving Image in Space...... 3 Open Studio Elective...... 3 Open Studio Elective...... 3 GEN398 Business and Professional Practices. 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 Liberal Arts Elective *...... 3 Total Credit Hours...... 15

Senior Fall Credits Senior Spring Credits TIM401 BFA Preparation...... 3 TIM402 BFA Thesis & Exhibition...... 3 TIM412 Narrative Production I...... 3 TIM412A Narrative Production II...... 3 * The following liberal arts distribution elective IME320 Web Practice and Presence...... 3 Open Studio Elective...... 3 categories must be completed for graduation: Open Studio Elective...... 3 Liberal Arts Elective *...... 3 Liberal Arts Elective *...... 3 Total Credit Hours...... 15 1 Art/Craft/Design History or Theory Elective Liberal Arts Elective *...... 3 1 Non-Western or Cross-Cultural Art/Craft/ Total Credit Hours...... 18 Design History or Theory Elective 1 Advanced Writing-Intensive Elective: LLC318 Screenwriting 1 Humanities or Lit/Language/Comp Elective 1 Social or Natural Science Elective 1 Open Liberal Arts Elective

Note: An optional 3-credit summer internship to be taken either during the summer between Sophomore and Junior year or between Junior or Senior year.

Effective for the 2012–13 Academic Year. 83

Section 9: Course Catalog Course Catalog Art/Craft/Design History and Theory 84

about the art of some CIA senior painters. We American Vernacular Architecture Art/Craft/Design begin with an historical study of the How do we ACD344 describe visual works of art in words? The aim This class will take a cultural perspective to History and of this course is to introduce some models of the architectural and design traditions of the art writing, discuss the theory of this important United States. The primary emphasis will be Theory activity, and then get the students to practice on the domestic environment and its furnishing, that activity by writing about the art of some though church and civic buildings will play their CIA senior painters. We begin with an historical less part in the story. European antecedents Art History: Ancient–18th study of the practice of art writing. Then we and elite architecture will be included, of course, Century: Concepts, focus on the theories of art writing developed but we will pay particular attention to the Themes, and Methods by some influential contemporary art critics. vernacular traditions of various ethnic groups ACD101 Finally, we arrange for these CIA painters to visit (or cultural regions) and the way in which these Intended to introduce students to art history the class, talk about their art, and then make traditions adapted and accommodated the through the study of major art concepts, appointments to talk with students in the class. above influences, in both architecture and its theories, and historical events from the Visual Culture Emphasis course. 3 credits. furnishings. (Based on this historical knowledge, ancient Greek and Roman periods to Europe students will have the option of designing of the Enlightenment. The approach is both housing or other products for recent immigrant chronological and thematic. Offered fall. Visual Culture and the groups in the United States.) This course will 3 credits. Manufacture of Meaning follow these traditions into the modern world ACD305 with attention to the development of suburbs This course will introduce students to as a social phenomenon, and of Craftsman, Critical Issues Art and Design critical theories and methods of analysis for Prairie, Art Deco and Populous styles (the History: 18th Century–1945 interpreting contemporary visual art and culture. look and life of America in the ‘50’s and ‘60’s ACD102 Topics include: formalism and stylistic analysis; from tailfins and TV dinners to Barbie dolls Covers major movements and ideas in semiotics and structuralism; Marxist theory; and fallout shelters, to my own tract house European and American art and design history biography; psychoanalytic theory; feminist childhood.) Visual Culture Emphasis course. to the mid-20th century. Students are provided analysis and gender studies; postcolonial 3 credits. with a firm grounding in the debates and theory; post structuralism and postmodernity; theories of modernity and modernism in art. and media arts studies (electronic/digital Offered spring. 3 credits. technologies). Select interpretive frameworks History of Photography Survey employed in the “manufacture of meaning” will ACD348 Prerequisites: ACD 101 be situated historically and discussed fully and This is a photo historical survey course. critically, using seminal writings. Required for Lectures present leading photographers and Visual Culture Emphasis. Offered each fall. the history of photography from its earliest Critical Issues Art and Design 3 credits. beginnings through the present within a context History: 1945–Present of cultural, art historical, social and political ACD201 trends. Students develop skills in critical Examines influential artists and related African American Art thinking, writing and research through lectures, concepts of art and design from around ACD334 group discussions, reading and writing WWII through the first decade of the new course covers African American art from the assignments along with the production of a millennium. Discussions focus especially on late 1700s to the present emphasizing the comprehensive research paper. Visual Culture critical distinctions and meanings of modern, formal qualities of art as well as the social and Emphasis course. Offered fall. 3 credits. postmodern, and contemporary art, design, cultural contexts within which it was created. and visual culture. Offered fall. 3 credits. Lectures and assigned readings are drawn from the scholarship of art history, literature, Art of Mesoamerica Prerequisites: ACD101 and ACD102. anthropology and history. We examine works ACD353 by U.S. Artists of African descent and others In this course we explore the fascinating and who engage aspects of African American life advanced civilizations that were in existence Art Writing and culture. Visual Culture Emphasis course. in Mexico, Guatemala, Honduras and Belize ACD303 3 credits. before Western Europe began its voyages of How do we describe visual works of art in discovery. We study the different cultures from words? The aim of this course is to introduce the Olmec to the Aztec with special emphasis some models of art writing, discuss the theory on the very sophisticated Maya civilization. of this important activity, and then get the Their complex hieroglyphic language has students to practice that activity by writing yielded in recent years to decipherment and Course Catalog Art/Craft/Design History and Theory 85

Maya history has been recreated. We look 12 Artists of Post-1950s China civilization, we will look at art objects from terra- at their art, architecture and crafts as well as ACD357 cotta pottery of the Neolithic period, bronze their unique calendars and cosmology. We In 2007, one of Yue Minjun’s (b. 1962--) vessels, Buddhist murals and sculptures of watch the indigenous American civilization paintings, Execution, was sold for US$ 5.9 the Tang era, literati paintings and imperial come into being, develop and mature, only to million dollars at Sotheby’s in London. It tastes of medieval China up to contemporary be devastated by the Spanish Conquest. The became the most expensive work ever by a art. Subjects such as women artists and class involves lectures and discussion. We have Chinese contemporary artist, and created performing arts will be also discussed in this a mid-term, a special project or major paper, a sensation over Chinese Contemporary course. As the semester progresses, some and a prepared final. The Institute’s library is Art in the Art and Business Worlds. This additional readings may be assigned. Visual particularly rich in this field and the Cleveland course will focus on 12 major artists (from Culture Emphasis course. 3 credits. Museum of Natural History also has an Installation, painting, sculpture, performance interesting collection. Visual Culture Emphasis art, photography and cinema), some of whose course. 3 credits. works were banned in China, but gained Art Since Abstract Expressionism international recognition. The year of 1949 is ACD368X the year of the split of the PROC (Mainland Abstract Expressionism. the first grand Demystifying the Maya China) and ROC (Taiwan), and when the American art movement, is by now well ACD354 Communist Party gained its political legitimacy understood. But what happens after that? That A study of the brilliant Maya civilization set in in Chinese history; we will thus consider with question is difficult to answer. We will look at the cultural context of Mesoamerica before the artistic climate from the 1950s until the earth art, minimalism and pop art in the 1960s, the Spanish Conquest. A comprehensive present time. All these 12 artists were born focusing on the role of Andy Warhol. We will study of the Maya, their art and architecture, between the 1950s and 70s; ten of them went pay special attention to the art and writings their calendar, their ballgame, their mythology through the Cultural Revolution of the 1970s, of Robert Smithson, and to such figures as and their writing system. Once called a “lost and were in exile after the Tian’anmen Incident/ Gordon Matta-Clark and Bas van Ader. Then civilization” and a Prehistoric people, recent Massacre in 1989. Visual Culture Emphasis we will consider how abstraction became an archaeological discoveries and our ability to course. ongoing tradition, studying the painting of decipher their glyphs means that Maya history 3 credits. Robert Ryman, Robert Mangold, Brice Marden, has been restored. There are over 6 million and the most important abstract painter of this Maya alive today and the world looks with period, Sean Scully. In the 1980s, figurative renewed interest at their Pre-Colombian past. Exhibition Theory and art was revived. We will look at such figures as Visual Culture Emphasis course. 3 credits. the Culture of Display David Salle and Julian Schnabel. In this period, ACD363X feminism became very important both for the While fundamental theories of exhibition theory and the practice of art. We will focus Peru Before Pizarro design are applicable to exhibiting art in a especial attention on the photography of Cindy ACD356 variety of public and private places, there are Sherman. The past twenty years remain very The great empire of the Inca was toppled by considerations of philosophy and methodology hard, still to understand. What new movements the Spanish conquistadors under Francisco that are unique to this field. This course and individual artists have emerged? And Pizarro in 1532. The Inca name is familiar to us is designed to give students preparing for how has the role of art writing changed? We because they were the last great civilization of careers in the arts an understanding of those will offer tentative answers to these questions. the Andean region, but they were preceded by philosophies and exposure to the practical Three essays are required. There is no final a whole series of cultures that existed along techniques that have been proven useful by exam. Visual Culture Emphasis course. the coastal deserts of Peru and in the valleys of people in the field. The required text book 3 credits. the towering Andes Mountains. In this course title suggest that the course will focus on we will study the way of life of these people and contemporary visual display strategies but the artistic traditions that trace back over 3000 consistent applications will be made to explore years, manifest today in surviving earthworks, gallery and museum standards. Visual Culture architecture, sculpture, textiles, pottery and Emphasis course. 3 credits. metallurgy. Previously undisturbed tombs have yielded new riches, but earlier finds have provided us with textiles that are over 2000 Art of China years old. Students in fiber, ceramics, and ACD365 metals should find much of interest in this The primary goal of this course is to explore the course. Visual Culture Emphasis course. art and culture of China (including mainland 3 credits. China and Taiwan). Political, religious, social, and visual aspects of the art will be stressed in class. In order to understand Chinese art and Course Catalog Art/Craft/Design History and Theory 86

Building Models: Artist, Art (and art and civilization of these two countries, 10 Chinese Painters You History) in the Framework of we will look at art objects from ancient Must Know Theory and Criticism archeological objects, medieval architecture ACD377X ACD370 to modern and contemporary art. Subjects Giorgio Vasari, the Italian Renaissance painter Why should an artist be interested in art such as women artists, performing arts and and writer, provided important information criticism and theory? Maybe, because critical animation will be also discussed in this course. in his Lives of Artists, which gave readers and theoretical speculation offers the artists Visual Culture Emphasis course. 3 credits. portraits of artists’ character and talents. In the (and their audiences) insight into the complex same manner, the lives and stories of Chinese and roles art plays in our society. Consequently, painters were documented in records past and this course focuses on the evolving discourse Critical Models present. This course focuses on 10 (+ a Plus network of criticism and theory that has given ACD375 1) painters (with their lives, paintings, painting rise to the dominant critical models used to For many people criticism is at once a styles, and ideas/theories) and their influences address modern and contemporary art as supplement, an act of validation, a guiding in the development of Chinese painting history these respond to cultural, political, social and light, a theoretical discourse, a substitute for past and present – for example, Zhao Mengfu technological change. Through discussion, forming their own opinions, a form of promotion, (1254-1322 AD) and the movement of “Return presentation and papers students will learn to a ploy, and a sham. In part this range of views to Antiquity” in the Yuan Dynasty (1279-1368 apply these critical models to their own work are a consequent of the fact that criticism is AD) and Dong Qichang (1555-1636 AD) and and experiences. Visual Culture Emphasis often perceived of as little more than someone his orthodox “Northern and Southern Schools” course. 3 credits. asserting their judgment or taste, rather than in Chinese landscape painting from the 17th constituting a discipline. Yet, despite this century onward. The painters we discuss will popular view, critics actually employ numerous range from the 6th to the early 20th centuries Asian Art Survey disciplines and ideological perspectives in their AD, and the painting subjects will include figure, ACD372 effort to establish the criteria, standards and bird-+-flower, landscapes, narratives, and This course serves as a “survey” or a window values by which art’s contents both implicit miscellaneous ones. Visual Culture Emphasis for the art of multiple cultures. This lecture/ and explicit may be discussed. By reading and course. 3 credits. exercise/discussion-style course explores discussing examples of criticism written over the art and visual culture of Asia, focusing on the last half century this course will to explicate India, Japan and China. Political, religious, why certain critical models came to dominate Art History, Theory, and Critical social, and visual aspects of the art will be the discourses that circumscribed art practices Emphasis Senior Research Paper stressed in class. In order to understand the while demonstrating that the history of criticism ACD415 art and civilization of these three countries, we is not merely a sequence of detached views Research paper required of seniors pursuing will look at art objects ranging from ancient and opinions; it is a record of changing the Visual Culture Emphasis. Not open as an archeological finds, medieval architecture positions and their methodologies. Visual elective. Offered spring. Pass/fail. 3 credits. to modern and contemporary art. Subjects Culture Emphasis course. 3 credits. such as women artists, performing arts and animation will also be discussed in this Issues in Design: Theory and course. The content of this course will be American Crafts History Culture of Design generally divided into pre-Modern, Modern ACD376X ACD416 + Contemporary eras in which art and visual This course will necessarily focus on American What exactly is the “culture” of design? Design culture will be discussed with geographic crafts. However, an effort will be made to writer Guy Julier recognizes a shift in the perspectives. As the semester progresses, incorporate other expressions (especially non- design profession from “a multidisciplinary to some additional readings and films may be Western) into the mix too. For example, there an interdisciplinary activity.” This assertion will assigned. Each student is encouraged to find are readings in Adamson on the Scandinavian become our point of departure for exploring examples learned in this course and apply slöjd system, Bauhaus aesthetics, the the interdisciplinary aspects of contemporary them to his/her intellectual development. Visual Japanese concept of mingei, the Indian notion design practice and theory in relationship to Culture Emphasis course. 3 credits. of svadharma, the Mande blacksmiths of West the complexities of culture and society. We will Africa, and subversive (feminist) stitchery, in move from conventional considerations of the addition to writings by Anni Albers, Karl Marx, history of modern and postmodern art and Art of East Asia Frank Lloyd Wright, Ellen Gates Starr, George design, to a broader understanding of design ACD373X Nakashima, Carole Tulloch, Garth Clark, and with respect to globalization, consumerism, This lecture/discussion-style course is to many more. Visual Culture Emphasis course. technological change, sustainability, and explore the art and visual culture of East 3 credits. alternative trends such the “DIY” (i.e., Do-It- Asia, focusing on Japan and China. Political, Yourself) movement. Visual Culture Emphasis religious, social, and visual aspects of the art course. 3 credits. will be stressed in class. In order to understand Course Catalog Art/Craft/Design History and Theory 87

Race and Representation Modernism in Latin Folk Art, Minority Art, and ACD420 American Art Outsider Art This seminar-style course considers the ACD443X ACD450 relationship between race and representation Whether one considers constructivist sculpture, This course will examine the art and objects in visual art and culture during the last three architectural design, photography, painting, made by or for groups or communities outside decades using contemporary methods printmaking, or decorative arts, much of the the bland, boring or mass produced market so including multi-culturism and postcolonial 20th Century art production in Latin America familiar to us today. We will see how aesthetic theory. We will discuss and analyze examples countries is best understood in terms of the principles of each group cut across genres and of contemporary art as well as popular culture struggle to assimilate, redefine, and/or resist media - thus expressing the deepest possible drawn from advertisements, animation, film, styles and concepts of “modernism.” In this values of each group - but not across cultures the internet, installation and performance course we will consider how twentieth-century or identities. We will pay particular attention to art, sculpture, photography, television and Latin American art and artists have been the role of the trickster in African and African- video. The focus will be on American culture, interpreted vis-a-vis trends in Europe and American consciousness. We will also study but discussions will also include the cultural the United States, paying particular attention the strategies adopted by minority artists, contexts of Africa, the Caribbean, Europe, to how issues of cultural and economic especially African-American, as they adopt and Latin America. In addition to the primary exploitation created unique types of personal abstract style of (white, male) academic art and focus on the representation of race, questions and national identity. In addition to analyzing simultaneously join and resist the mainstream. of class, sexuality, and gender will also be the works of such well-known artists as Diego There will be a definitions essay, a take-home considered. Questions to be addressed Rivera, Frida Kahlo, David Alfaro Siqueiros, mid-term exam, and a substantial term paper include: Is race largely a biological or cultural Jose Clemente Orozco, Wifredo Lam, and based on your own fieldwork and research. phenomenon? How are “white” and “mixed- Oscar Niemeyer, classes will be arranged Visual Culture Emphasis course. 3 credits. race” understood as racial categories? How thematically to better explore developments in have artists of different races dealt with racial various media and to draw distinctions among identity and representation? Do popular media the arts of various countries, especially Mexico, The Body: Tradition, such as commercial advertisements and music Puerto Rico, Cuba, and Brazil. Visual Culture Transformation, Transgression videos convey prevailing notions of racial Emphasis course. 3 credits. ACD458 stereotypes? Visual Culture Emphasis course. This seminar-style course will explore one of the 3 credits. most important themes of twentieth-century Advertising Images visual art: the body (male and female). We will ACD447 discuss a complex range of ideas and values Neo-Expressionism/Neo-Geo, This course will examine advertisements in the associated with the nude (and naked) body as it and Postmodernism print media with respect to various elements, has been re-presented in 20th c. photography; ACD442 including: economic and social class; race; painting; sculpture/installation; performance This course will explore neo-expressionism, ethnic identity; age; gender; and sexuality. and body art; and video. While the “great neo-geo and postmodern art (painting, The course begins with an introduction to tradition” of the nude will be introduced, the sculpture, performance, photography) of the method of analysis called semiotics, the course will focus on art produced since the Germany, Italy, England, and the United States techniques of which will be used to determine 1950s (from the late modern to the postmodern from 1971 to the present. We will survey two how advertisements convey their messages era). Among other topics, we will study the major developments in art making and cultural and how they address themselves to particular visual body as a representational site for the theory taking place in Europe and America. The consumers. In addition to the elements self; for erotic desire; for the political position first is art as anti-modern (neo-expressionism) outlined above, we will discuss several recent of women; and for formal experimentation. We - a return to history, to representation, to controversial issues. While this course will will look at art that presents bodies which are narrative, to the figure, and of the artist/self. not center on a history of advertising, it will very much outside tradition: i.e., bodies that The second is art after “the death of the author” treat the historical place of print advertising are sick, decaying, dying, dead, aging, obese, (postmodernism) - or the end of the individual in capitalist consumer culture. Interventionist androgynous, deformed, etc. Topics and “author”/artist (as the unique source of meaning tactics by various artists that attempt to subvert terms of analysis will include: the traditional of art) and the birth of the reader/viewer. In the economic and ideological function of ads nude; feminist critiques of sexism; voyeurism; analyzing these developments, the course will will also be examined. Visual Culture Emphasis “exploitation,” “obscenity,” and censorship; survey the work of a number of artists. Visual course. 3 credits. objectification (gaze theory) sexuality; the Culture Emphasis course. 3 credits. nude self-portrait and portrait; parody and quotation; the female nude and modernism; Kenneth Clark’s nude-naked (ideal-real) dichotomy; identity and performance; and formal aestheticizing of the body. Visual Culture Emphasis course. 3 credits. Course Catalog Art/Craft/Design History and Theory 88

Design and Craft in poses significant interpretative challenges. We understand this current issue, some historical Modern Culture will do a close reading of some biographies, background on art collecting cannot be ACD462 and also look at some of Warhol’s own writings. omitted. Visual Culture Emphasis course. This course is an introduction to graphic and Visual Culture Emphasis course. 3 credits. 3 credits. three-dimensional design from the Industrial Revolution to the present. We will examine modern and contemporary artists, styles, The History of Art History Artist as Author and objects across the design and craft and Its Philosophy ACD482X disciplines, including finely crafted furniture ACD479 This course will investigate the differing and other objects designed for public and The History of Art History and its Philosophy practices and modes of thought that intersect private spaces (architectural details and Art history is the academic study of art in its the practice of the Artist. To do this the course ornamentation, wallpaper, textiles, lamps, historical development. As a discipline, art will track the analogous discourse concerning kitchenware, etc.); decorative objects such as history is distinguished from art criticism, which authorship that begins with the advent of ceramics, metalwork, and glass; objects of is concerned with establishing the relative Modernism and contributes significantly to mass production and consumer culture (cars, artistic value of works and art theory which is the development of Post-Modernist - Thought. trains, cameras, corporate and residential concerned with the fundamental nature of art. By constructing a genealogy of those theorist furnishings, electronic goods, etc.); art posters, This course will trace the historical development who have most significantly addressed the private press books and illustrations, and of these discipline both ideologically and question What is an Author, this question will innovative forms of communication graphics. methodologically: formal analysis, semiotics, not only permit students to build a model of Special consideration will be given to the social psychoanalysis and iconography beginning authorship for themselves, but also come to and cultural meanings of objects, issues related with the late 19th Century works of Alois Riegl, an understanding that discourses are tran- to the design and craft fields as professional Franz Wickhoff, and the Vienna School through historical and emerge from one generation occupations, and the art historical and to Rosiland Krauss, Mieke Bal and the post- addressing the concerns of another. This theoretical relationships of the various design Structuralist. Special attention will be given to will permit them an insight into the historical and craft disciplines beyond medium (material) the correspondence between the changing development of theory, practice and thou specific concerns. Visual Culture Emphasis methodologies and their philosophical sources ht how these produce differing though not course. 3 credits. in Kant, Hegel, Marx, Freud, etc. Visual Culture necessarily opposing stances that both form Emphasis course. 3 credits. and objectify our self-conception (subjectivity). Visual Culture Emphasis course. 3 credits. Contemporary Art: Andy Warhol Who Owns Art? Issues ACD464 of Asian Art Collecting Conceptual Art: History, Theory, Andy Warhol was the most influential high artist ACD480X and Contemporary Practices of the second half of the twentieth century. After In the past five to ten years, issues of ACD483X a successful career as a decorator, he became ownership and provenance of art works in This theme-based art history course is on of the founders of pop art. He became the museums have been hotly debated, with regard designed to give students an in-depth, only pop artist who, achieving general fame, to both art world ethics and cultural sensibilities. semester-long investigation into the art became a culture hero. Apart from painting, Some art museums have returned holdings movements and ideas that informed Warhol also made films, directed the Velvet to their original countries and some have Conceptual Art’s development in the 1960s and Underground, and important innovative music firmly maintained their legitimate ownership 1970s as well as its impact on contemporary group, and was involved with creative writing. of objects. For example, the Metropolitan art making in the decades that followed. This And so, not surprisingly, his achievement Museum of Art in New York recently returned course will cover, but not be limited to, the so- has been hard to bring into focus. Traditional to Italy the fifth-century B.C. Euphronios krater. called heyday of Conceptual Art in the 1960s art historians have described his stylistic The looting of art has existed in both the past and 1970s, a focus on which would otherwise development, interpreting his paintings. But and the present and has not been limited to reinforce the traditional modernist art historical many other approaches to his are art possible. European countries alone. It has also occurred framework that defined styles in part by limiting Arthur Danto has described the philosophical in Asia—China, India, and other South Asian them to a specific time period. Significant time significance of Warhol’s achievement; cultural countries—where the looting has come from in the class will be devoted to investigating historians have discussed his role as a gay internal rather external motivations. How much examples of conceptually-informed art created artist; and attention has been drawn to the do we know about such occurrences in Asia? in the 1980s, 1990s and the early 21st century, importance of his lifelong interests in religion. This open-discussion seminar is aimed at underscoring the impact of Conceptual Art’s Warhol has become a significant subject for exploring issues of ownership in the art and legacy for art, craft and design today. The scholarship in part because his body of art visual culture of Asian countries, and how course will investigate the philosophies that they are represented and displayed in current European and American contexts. In order to Course Catalog Art/Craft/Design History and Theory 89

informed conceptual art that allowed artists to Contemporary Art: problematize the conditions and encounters Critical Directions with art; the conventions of its visuality, and the ACD493 circumstances of its production. Visual Culture Traditionally art historians have focused on the Emphasis course. 3 credits. history of European art. But recently there has been great interest in art of other cultures. Is a history of world art possible? And if so, what Media Arts and Visual Culture: form might it take? This course explores that Installation question. We read Richard Wollheim’s aesthetic ACD486 focused on European art. And then we discuss This course investigates the emergence, James Elkins, Stories of Art, which attempts to prominence and impact of the installation as imagine a history of world art. We then pursue a new medium in contemporary art. “Media our investigation by reading recent accounts arts” or “new media” include but are not limited of Islamic art (Oleg Grabar, The Meditation of to video and experimental film, performance, Ornament), Indian art (Partha Mitter, Indian Art), interactive art, digital media, and especially the and Chinese art (Craig Clunas, Art in China). installation, which itself embraces a wide range This class requires a good deal of reading. It of media. We will focus on the growth of the does not presuppose any prior knowledge of installation from “environments” in the 1960s art history or aesthetics. Three papers, two into a distinct artistic medium used widely since short ones and one long one will be required. the 1980s. We will discuss the work of many There is no final exam. Visual Culture Emphasis recognized artists and some less familiar artists course. 3 credits. from around the world as well as corresponding theories of media within the broader field of visual culture. Using a wide range of installations as examples, particular attention will be given to the implications that new media, especially digital media, have for the creative process and the critical social issues that they raise. Visual Culture Emphasis course. 3 credits.

Media Arts and Visual Culture: Interactive Zones ACD487 What is “interactivity”? A recent publication is titled Total Interaction, but what does that mean? In this course we will look closely at the history, theory, and practice of the interactive as a facet of contemporary art, design, and media culture. We will explore thematic zones or territories of the interactive both real and imagined, including: cybernetic systems, sci-fi and popular culture, visionary design, interactive animations and massive multi-player games, convergent technology, responsive environments, and “A.I.” (i.e., artificial intelligence). A previous course in modern and contemporary art or visual culture is assumed for all participants. Visual Culture Emphasis course. 3 credits.

Prerequisites: A previous course in modern and contemporary art or visual culture is assumed for all participants Course Catalog Biomedical Art 90

Human Anatomy and Physiology I and meiosis; Molecular genetics, viruses, and Biomedical Art BMA116 gene technology; Classical and microbial This course is the first course in a two- genetics; Population genetics and evolution; semester sequence that covers most systems Diversity resulting from evolution. 3 credits. Principles of Chemistry of the human body and covers homeostasis, BMA105 membrane structure and function, membrane Prerequisites: BMA105 (CWRUCHEM 105). Atomic structure; thermochemistry; transport, tissue types, the integumentary Cross-registration at CWRU required. periodicity, bonding and molecular structure; system, neurons and nerves, the central Vertebrate Biology intermolecular forces; properties of solids; nervous system, the peripheral nervous system, BMA223 liquids, gases and solutions. If you are a special senses (vision, hearing and equilibrium, A survey of vertebrates from jawless fishes to CIA BMA Student wanting to take advanced taste, smell), and the cardiovascular system. mammals. Functional morphology, physiology, Biology/Anatomy at CWRU; you will need this 3 credits. behavior and ecology as they relate to the course as an additional prerequisite to gain groups’ relationships with their environment. access to specific upper level electives. See Prerequisites: Cross-registration at CWRU Evolution of organ systems. Two lectures prerequisite notes for each course. required. and one laboratory per week. The laboratory 3 credits. will involve a study of the detailed anatomy of the shark and cat used as representative Prerequisites: Cross-registration at CWRU Human Anatomy and Physiology II vertebrates. Students are expected to required. BMA117 spend at least three hours of unscheduled This course is the second course in a two- laboratory each week. This course fulfills a semester sequence that covers most systems laboratory requirement for the biology major. Human Biology in of the human body and covers respiratory Recommended preparation: BIOL 214. You Health and Disease system, endocrine system, digestive system, must choose a lab section, A (Tuesday) or BMA106 lymphatic system, immune system, urinary B (Thursday). Cross-registration at CWRU This is an introduction to biological principles. system, acid-base regulation, and reproductive required. 3 credits. Topics include discussion of cell structure, systems. Offered Spring. 3 credits. cell function, and physiology of digestion, Prerequisites: Cross-registration at CWRU circulation, excretion, and coordination in Prerequisites: BMA116 + BMA114 required. normal and disease states. 3 credits. Cross-registration at CWRU required.

Prerequisites: Cross-registration at CSU Evolution required. Biomedical Art Graphics BMA225 BMA203 Multidisciplinary study of the course and This course serves as an introduction to processes of organic evolution provides Principles of Biology biomedical graphic instructional design and a broad understanding of the evolution BMA114 production. The course will utilize Adobe of structural and functional diversity, the A basic biology course designed for the Illustrator to create vector based instructional relationships among organisms and non-major. Topics include: molecules of life, illustrations and design elements (text, and their environments, and the phylogenetic cell structure, respiration and photosynthesis, image) within a context for specific audiences. relationships among major groups of molecular genetics and gene technology, Emphasis will be on illustration combined with organisms. Topics include the genetic basis heredity and human genetics, population design principles, typography, and composition of micro- and macro-evolutionary change, genetics and evolution, diversity of life, and resulting in pre-press and print ready media. the concept of adaptation, natural selection, function of ecosystems. Course includes The use of Adobe In-Design to create layout for population dynamics, theories of species some applications of biological principles instructional and sequential page graphics will formation, principles of phylogenetic inference, to agricultural, medical, and environmental be utilized in the process of production. biogeography, evolutionary rates, evolutionary concerns. Offered Fall. 3 credits. 3 credits. convergence, homology, Darwinian medicine, and conceptual and philosophic issues in Prerequisites: Cross-registration at CWRU evolutionary theory. 3 credits. required. Genes and Evolution BMA214 Prerequisites: Cross-registration at CWRU First in a series of three courses required of required. the biology major. Topics include: Biological molecules with a focus on DNA and RNA; Basics of cell structure with a focus on the nucleus and chromosomes; Cell cycle, mitosis, Course Catalog Biomedical Art 91

Anatomy for the Artist monochromatic production. The goal will be Human Forms: Head, Hands, Feet BMA250 to convey an aesthetically powerful illustration, BMA255 This course is a sophomore elective and which effectively provides a solution for a This course is open to all majors who are is designed to strengthen the students specific visual communication problem. The interested in learning how to visually describe understanding and use of figure anatomy student will learn a vocabulary for expressing the (1) Head: facial proportion/anatomy, form, within their work. Reflecting the interdisciplinary pertinent natural science and medical art construction and expression (significance of nature of biomedical art, the course will have concepts in relation to technique, design, meaning and context); (2) Hands: proportion/ two complementary components. These composition, object accuracy/integrity and anatomy, gestural qualities and significance of components reflect a multidisciplinary context. Students outside the major of meaning and context, biomechanics of motion; approach to muscular anatomy and figure Biomedical Art will be required to apply the (3) Feet: proportion/anatomy, biomechanics of drawing. Study in this area is designed to concepts and techniques taught in class to motion, the relationship to ground and weight provide the student with a good grasp of observational subjects pertinent to their major emphasis. This Course provides observational muscular anatomy as it strongly relates to of study. The emphasis will be tonal and line drawing skills in: portraiture, hands and feet in drawing the figure and its proportions. This base methods in various media, including a variety of different mediums, perspectives course will provide the student the opportunity graphite, ink, black/white color pencil, carbon (from orthogonal interpretation to dramatic to interpret anatomy knowledge by working dust, and introductory digital illustration vantage points and foreshortening.) This directly from the model and human cadaver techniques in Adobe Photoshop. The rendering course is designed to benefit majors in from CWRU Anatomy Department This course concepts learned will provide a solid foundation Drawing, Painting, Illustration, Biomedical Art, is designed to provide the student with a solid for subsequent semesters and be integrated Animation, Video, Game Design, and is open basic understanding of muscular anatomy as further into the broader scope and applications as an elective to all majors. Projects include it relates to surface anatomy, proportion and in Biomedical Art. Offered fall. 3 credits. assignments and exercises which incorporate movement of the human figure. The course the specific subjects of Heads, Hands, and incorporates lectures on anatomy, figure Feet. The projects involve principles of realism, proportion and drawing techniques linked to Intro to Digital observational accuracy, proportion/anatomy, direct and accurate observation of the figure Biomedical Illustration composition, creative context of meaning, and model and cadaver model. Offered spring. BMA254 emotion. Offered fall. 3 credits. 3 credits. This course serves as a continuation of the first iteration of Biomedical Art Methods I. In this section, the student will continue to Medical Sculpture Introduction to Cellular and focus on natural science and anatomically BMA256 Molecular Biological Systems based concepts and subject matter, dealing This course is designed to introduce the student BMA251 specifically with human biology/anatomy to a general variety of molds, mold making, This course will emphasize an understanding and body systems. Utilizing knowledge from casting and finishing techniques utilized of living organisms at the cellular level from a Human Biology II and anatomical references, in biological and medical sculpture fields. molecular view point. Topics to be covered the student will continue to develop keen Students will explore these various techniques will include: unity and diversity of living things, observational skills and apply those concepts through assigned projects that will be keyed to evolutionary relatedness, cells, tissues and through digital methods. Students outside the specific elements and characteristics of objects organelles, life as a biochemical process, major will learn techniques in digital illustration in the scientific and medical environment. molecular building blocks of life, gene structure and concepts in visual communication for Instruction in the use of materials such as and function, uses of model organisms and editorial and narrative based projects. The core alginate, plaster, and plastic resin will be used molecular experimental methods. The topics media will be centered in Digital Illustration to cast human and animal based objects. to be covered are relevant to current practices methods and concepts in monochromatic tone. Students may be exposed to visiting artist in biotechnology, medicine and agriculture and The integration of digital media will be used lectures and a tour of the casting facilities at the these connections will be highlighted. 3 credits. in unique ways to explore the boundaries of Cleveland Museum of Natural History. Assigned medium and convention in modern production. projects will primarily focus on the traditional Prerequisites: Cross-registration at CWRU Digital illustration skills in Adobe Photoshop, 3-dimensional (3D) eccentricities of both required. and Illustrator will be learned and augmented medical and biological subject matter. 3 credits. through traditional scanned work. The rendering concepts learned will provide a solid Natural Science and foundation for subsequent semesters and be Zoological Illustration integrated further into the broader scope of the BMA253 biomedical art major. Offered spring. 3 credits. This course is designed to develop strong observational skills, and integrate traditional and digital media within the scope of Course Catalog Biomedical Art 92

Line: Information Visualization and concepts which help to augment and Biomedical Art Graphics BMA260 compose digital space for sequences of BMA303 This course serves as a comprehensive images (still images, animations + video). This course serves as an introduction to investigation of line to communicate simplistic Digital compositing is the manipulated biomedical graphic instructional design and to complex informational systems. Both combination of at least 2 or more sources of production. The course will utilize Adobe traditional forms of media (graphite, pen/ink, images to produce an integrated result. The Illustrator to create vector based instructional charcoal, pencil, etc.) and digital forms of line course will use the process of compositing illustrations and design elements (text, and (vector ink, vector paint, raster ink, and raster to demonstrate the following advanced image) within a context for specific audiences. paint) will be utilized to explore subjects in concepts and techniques: digital compositing Emphasis will be on illustration combined with plant science, animal science, general biology concepts, motion graphics integration, post design principles, typography, and composition and micro and macro processes and human production special effects, matte painting/ resulting in pre-press and print ready media. systems. From gesture, quick sketching in masking, basic 2D rotoscoping and animation The use of Adobe In-Design to create layout for line, preliminary line concepts, to sequential of different composited layers, depth and instructional and sequential page graphics will narrative in line, and fully rendered line projects; 2D space composites, 3D generated render be utilized in the process of production. will be central outcomes in the course. All non- passes, lighting and color correction for image 3 credits. majors are encouraged to enroll; the course synthesis and rendering with correct frame rate is specifically design as course support for and aspect ratios. The fundamental concepts, Illustration, Drawing, and Animation majors. principles and practices of time based digital Herpetology The subject matter for non-majors will NOT be compositing and rendering in order to establish BMA305 science based but editorial, experimental, and a common aesthetic and technical language Reptiles (crocodilians, turtles, lizards, snakes) sequential narrative. Offered fall. 3 credits. necessary to develop quality professional and amphibians (frogs, salamanders) have visual communications. Based primarily in developed unique mechanisms for dealing the software program Adobe After Effects, with their environment. Yet their structure, Digital Color: Style and students will immerse themselves in the function, and behavior are governed by their Representation in Science making of integrated 2D works that are driven ancestry and by certain principles which apply BMA264 by medical/scientific, socially, culturally and to all living organisms. This course will cover This elective is open to all students interested research connected narratives. 3 credits. many aspects of amphibian and reptile biology, in techniques and concepts in traditional and including anatomy, evolution, geographical digital color media. The course will focus distribution, physiological adaptations to their on principles of color theory, light on form, Human Learning and the Brain environment, reproductive strategies, moisture-, line, texture, aesthetic impact, and accuracy BMA301 temperature-, and food-relations, sensory of content in the illustration of scientific This course focuses on the question, “How mechanisms, predator-prey relationships, information and editorial content. Through does the human brain learn?” Through communication (vocal, chemical, behavioral), research, planning, and the application assigned readings, extensive class discussions, population biology, chemistry and physiological of medical and scientific knowledge, the and a major paper, each student will explore actions of venoms, and pathophysiology and students use color to effectively communicate personal perspectives on learning. Specific treatment of snakebite. Laboratory Sessions conceptual and observational problems. topics include, but are not limited to: the will be devoted to learning species identification Assignments focus on the creative use of color brain’s cycle of learning; neocortex structure by means of dichotomous keys, discussion of to express specific communication objectives and function; emotion and limbic brain; the natural history of Ohio’s amphibians and to a range of audiences for both majors in synapse dynamics and changes in learning; reptiles, survey techniques for determining Biomedical Art and other majors of study. images in cognition; symbolic brain (language, population size and structure, and observations This course supplements the integration of mathematics, music); memory formation; and of the behavior of live reptiles and amphibians. traditional and digital illustration techniques for creative thought and brain mechanisms. The Several daytime (Saturday or Sunday) field trips non majors, focused on editorial, and narrative major paper will be added to each student’s are held as the weather warms, one nighttime based course work. 3 credits. SAGES writing portfolio. In addition, near the field trip is held in late March to observe end of the semester, each student will make an salamander migrations, and there is a one-day oral presentation on a chosen topic. 3 credits. field trip to either the Columbus Zoo or the Biomedical Art: 2D/3D Toledo Zoo Reptile House. 3 credits. Compositing for Animation Prerequisites: Cross-registration at CWRU BMA300 required. Prerequisites: Cross-registration at CWRU The course is designed to instruct students in required. the process and concepts of integrating 2D and 3D images from multiple digital sources into a single, seamless whole composite. The course will be examining tools, techniques Course Catalog Biomedical Art 93

Exhibition Media Installation Fundamental Immunology for concept development and for long term BMA306B BMA316 portfolio objectives. Projects include concepts This Educational Media Installation class serves Introductory immunology providing an and workflow for constructing a virtual 3D as an introduction to and the exploration overview of the immune system, including surface by: (1) Defining the visual problem of media installation and exhibition design activation, effector mechanisms, and regulation. within a concept drawing in pre-production, (2) techniques; including how physical media, Topics include antigen-antibody reactions, utilizing specific introductory modeling methods and virtual interactive and linear media can immunologically important cell surface to build the 3D illustration components, (3) the be applied to educational and informational receptors, cell-cell interactions, cell-mediated use of basic lighting and rendered materials, settings including Museums, Cultural immunity and basic molecular biology of B (4) export methods into Adobe Photoshop for Institutions and Public Education access and T lymphocytes. Lectures emphasize illustrated compositing with digital illustration points. Lectures will cover concepts and experimental findings leading to the concepts techniques and layout. Projects require the presentations of the history of educational of modern immunology. 3 credits. student to gain and improve upon research display, museum arts, and how traditional methods, visual communication skills, problem- media intersects with contemporary digital Prerequisites: Cross-registration at CWRU solving in specific media (digital 2D + 3D) and media, to inform and educate specific required. technical proficiency at an introductory level in audiences at public institutions of culture/ 3D modeling. 3 credits. knowledge. Course work will be hands-on practice of techniques and concepts presented Microbiology in lecture, discussion of readings, and critique BMA343 Biomedical Art: of student projects. This class will involve An introduction to the physiology, genetics, Intro to 3D Animation both ideation and proposal development, as biochemistry, and diversity of microorganisms. BMA346 well as producing 1 to 2 educational media The subject will be approached as both a This course serves as an introductory platform installations in collaboration with the curators basic biological science that studies the to investigate and discover object, environment, and staff at the Cleveland Museum of Natural molecular and biochemical processes of cells human and natural science 3D animation to History, the Cleveland Botanical Gardens, and and viruses, and as an applied science that create a narrative with goals to communicate the Cleveland Metroparks Zoo. The course will examines the involvement of microorganisms a message and/or educate and instruct the also incorporate field trips and guest lecturers in human disease and in the workings of viewer. The student will use the concept of to supplement the knowledge and practiced ecosystems, plant symbioses, and industrial narrative to tell animated short stories of the gained from studio practice. Projects will processes. Topics will include the structure body, environment and/or natural science involve working with diverse materials, media, and anatomy of cells and viruses, microbial through the medium of 3D digital animation and electronic media. 3 credits. growth and diversity, the genetic basis of software. Within the course, strong conceptual growth and development, bioenergetics, the skills are emphasized and developed through immune system, pathogens that cause disease professional production techniques, workflow Basic Histology in animals and plants, clinical microbiology, and time-based linear media. Successful BMA312 biotechnological applications of microbes, animation breathes life into motion with Fundamental histology course covering and microorganisms that interact with the clear communication of thought, emotion, microscopic structure, nomenclature, and environment. 3 credits. narrative or experience. Any moving object is function of normal cells, tissues, and organs a character in film or animation. We will hold (human emphasis) to provide a sound Prerequisites: Cross-registration at CWRU regular discussions and workshops on how foundation for bioengineering, pre-medical and required. the dialogue of an otherwise stagnant object pre-dental students. CIA Students interested changes and evolves when put to motion. in registering for this course; please contact Methods of instruction will consist of lectures, Amanda Almon (Head of Biomedical Art) and 3D Bioforms: Intro to 3D Modeling demonstrations, art and scientific research, Dr. Joseph Miller, CWRU course faculty. BMA345 studio assignments, in-class lab time, and 3 credits. This course is designed to cover concepts group critiques. The principles of 3D space and in digital 3D organic and device model motion/timing will be used as the foundation Prerequisites: Cross-registration at CWRU construction, whereby the virtual models for understanding how to communicate a required. designed are rendered and composited for 2D message through animation. Learning the illustration purposes to solve specific visual ideas of simplistic object, environment and communication problems. The subject matter body motion accuracy/timing will be taught within the Biomedical Art curriculum reflects in 3D and students will be expected to create the subject matter of natural science, medicine, simple to complex animations (based on level and biotechnology.. Students outside the and individual progress.) The computer will be Biomedical Art’ Major, are required to work with explored like other art media and will serve as subjects appropriate to their major field of study a tool for creation. This course is designed to Course Catalog Biomedical Art 94

benefit all majors AND non-majors who have and be conscious of patient-related regulations digitally for final art) Students will learn to take had a prerequisite course in 3D modeling. and privacy standards. Offered spring. complex information presented by biomedical 3 credits. 3 credits. subject matter and simplify it to solve visual communication problems effectively for the Prerequisites: Course in 3D modeling target audience. Advanced digital illustration Biomedical Art: techniques in Adobe Photoshop, Illustrator, and Advanced Media Concepts the integration of flash will be used as the basis 3D Texture, Mapping, Digital BMA353 to solve illustration problems. Students outside Lighting, and Rendering This course serves as the first iteration of the major will learn techniques and concepts in BMA347 Advanced Problems in Biomedical Art, and visual communication for editorial and narrative This course is designed to cover concepts builds on observational and other skills based projects. Offered spring. 3 credits. in digital application of texture maps (for acquired from preceding Biomedical Methods virtual 3D models); 3D material qualities courses. The course focuses on digital and characteristics, digital lighting concepts illustration and drawing techniques which help Biomedical Art: Forensic and design, and rendering methods. The to explore editorial, narrative and educational Imaging/Modeling importance of digital cinematography, scene communication problems. The course is also BMA356 arrangement and compositing of 3D elements used for non-majors to develop strong skills This course is an introduction to Forensic of color, camera and light are goals of aesthetic in digital illustration / drawing techniques Modeling and Reconstruction methods and integration. The subject matter within the (Adobe Photoshop, Illustrator and InDesign) concepts; which brings materials developed Biomedical Art curriculum reflects the subject The scope of the course entails developing in the medical and forensic industry to the matter of natural science, medicine, and skills and knowledge necessary for effective sculpture lab. Materials such as clay, plaster, educational media. Elective students may visual communication of biomedical concepts alginate used in body casting, silicone use the course to their individual major focus, and subject matter such as human anatomy, molding materials, polyurethanes, and clear but must fulfill the knowledge of concepts veterinary/zoology subjects, body systems and casting materials will be used in projects that and project objectives. Projects include natural science subject matter. The focus will reconstruct facial, and human body elements concept integration into technical production be on developing advanced visual storytelling from skull and environmental clues. The course workflow for describing digital 3D surfaces skills. Students will learn to take complex will utilize the Cleveland Museum of Natural and scenes; creating compositional balance information presented by specific biomedical History specimens, and possible visits to local of camera, texture (color) and light to illustrate art subject matter and selectively simplify forensic agencies for additional hands on a narrative scene. Projects require the student it to solve visual communication problems applications. Experimentation and integration of to continually improve upon conceptual effectively. Students will work exclusively in sculpture methods to produce body and facial problem solving, time management strategies, digital media to develop practical competence reconstructions will be explored. The course communication/presentation and technical in the rendering methodologies and learn the is open to all majors and non-majors as an skills. 3 credits. conventions of modern production. When elective; No previous experience necessary. appropriate, project-based learning and client 3 credits. relationships will be incorporated into the Surgical Illustration and Media course for specific assignments and exercises. BMA352 Students outside the Biomedical Art major will Animal Behavior This studio course is an introduction to the not be required to produce illustrations based BMA358 illustration of surgical procedures and its on biomedical content, but instead will focus on Ultimately the success or failure (i.e., life or fundamental application within the discipline developing visually illustrated narrative projects, death) of any individual animal is determined of biomedical art. It is based on the belief of equal complexity, pertinent to their own by its behavior. The ability to locate and that understanding the concepts of medical areas of interest. Offered fall. 3 credits. capture food, avoid being food, acquiring and/or veterinary surgery is essential to and defending territory, and successfully creating effective illustrations and other media passing your genes to the next generation, that visually communicates the information. Biomedical Art: Advanced are all dependent on complex interactions Students will research surgical procedures Problems, Concepts, and Media between an animal’s design, environment and and techniques, sketch procedures in the BMA354 behavior. This course will be an integrative operating room, prepare comprehensive In this course the student will continue approach emphasizing experimental studies sketches outlining visual narrative of surgical investigating complex concepts and techniques of animal behavior. You will be introduced to procedures, and render final illustrations/media in Biomedical media and apply them to state-of-the-art approaches to the study of presentations using a variety of digital media. advanced visual communication problems. animal behavior, including neural and hormonal Special access to Case Western University The focus will be on developing conceptual mechanisms, genetic and developmental Hospitals will be granted and all students must visual story-telling skills (First in sketch form/ mechanisms and ecological and evolutionary follow ALL rules during medical observation; storyboarding for client proofing, then rendered approaches. We will learn to critique examples Course Catalog Biomedical Art 95

of current scientific papers, and learn how to images (still images, animations and video). Applied Portfolio and conduct observations and experiments with Digital compositing is the manipulated Professional Strategies real animals. We will feature guest appearances combination of at least 2 or more sources of BMA404 by the Curator of Research from the Cleveland images to produce an integrated result. The The Applied Portfolio and Professional MetroPark Zoo, and visits to working animal course will use the process of compositing Strategies course will help the student develop behavior research labs here at CWRU. Group to demonstrate the following advanced applied portfolios in offline and online media, discussions and writing will be emphasized. concepts and techniques: digital compositing demo reels, and print-related materials relating 3 credits. concepts, motion graphics integration, post to professional packages (resumes, cover production special effects, matte painting/ letters, business cards, etc.) Students will Prerequisites: Cross-registration at CWRU masking, basic 2D rotoscoping and animation learn real-world business approaches for required. of different composited layers, depth and art and culturally-based professionals within 2D space composites, 3D generated render community networks. The understanding of passes, lighting and color correction for image contracts, copyright, budgeting and marketing Biomedical Art: Interactive synthesis, rendering with correct frame rate and and presentation concepts as applied to Narratives aspect ratios, and the fundamental concepts, commercial-based work and freelance BMA359 principles, and practices of time based digital opportunities will be explored. The course This course serves as an introductory platform compositing and rendering in order to establish is designed to help the student navigate the to investigate and discover object, environment, a common aesthetic and technical language professional areas of art and integrated media, human and natural science 2D/web-based necessary to develop quality professional visual while gaining critical insight into art practice animation, in addition to basic interface communications. Based primarily in Adobe and leadership in the business environment. design, to create a narrative with goals to After Effects, students will immerse themselves 3 credits. communicate a message and/or educate in the making of integrated 2D works that are and instruct the viewer. The student will use driven by medical/scientific, socially, culturally the concept of narrative to tell animated ,and research connected narratives. 3 credits. BFA Thesis Research short stories of the body, environment and/ BMA405 or natural science through the medium of This course is designed to act as a summative Adobe Flash (using AS 3.0) in conjunction Instructional Design experience for the student. The final with Adobe Illustrator, Photoshop, and BMA403 BFA Thesis Project will be defined by the Dreamweaver. Within the course, strong This course serves as a platform to investigate student and work with a level of professional conceptual skills are emphasized and and discover human and natural science collaboration. The requirements for the BFA developed through professional production 2D/3D animation and interactivity to educate Thesis will be to solve and effectively visually techniques, workflow and time-based linear and instruct the viewer. The student will communicate a medical or scientific problem. media. The principles of 2D animation and use concepts in the body, medicine and/ Integration of outside resources, research web-based interface design will be used or natural science through the digital effective collaborator/expert communication, as the foundation for understanding how to mediums of interactive 2D/3D and illustration. professional practices, presentation (oral and communicate a message. Learning the ideas Within the course, strong conceptual skills written) and documentation of the process of of simplistic object, environment and body are emphasized and developed through the specific yearlong project will be expected motion accuracy/timing will be taught in 2D professional production techniques and time- to determine successful BFA candidacy. The and students will be expected to create simple based media. The foundation of the narrative choice of media and concept will be evaluated to complex animations (based on level and process and storytelling within the scope of on its appropriateness for communicating individual progress.) This course is designed to the body and the natural environment will be the message and solving the Thesis problem. benefit all majors and non-majors with required explored and critiqued. Students will gain The project visualization will be student prerequisites. Offered fall. 3 credits. experience of instructional design, educational driven; content needs will be determined by information design and applied concepts of the student and the research/collaboration. media to help audiences learn through visual The emphasis in this course will be on the Biomedical Art: 2D/3D communication. 3 credits. conceptual development of the content Compositing for Animation accuracy/relevance and its realization through BMA400 the design process. The process will fully The course is designed to instruct students in address research, expert collaboration, target the process and concepts of integrating 2D audience, time spent, visual communication and 3D images from multiple digital sources problem, and successful execution of into a single, seamless whole composite. The completed production. The goal will be course will be examining tools, techniques effective visual communication with a strong, and concepts which help to augment and aesthetic, fully considered project, which compose digital space for sequences of integrates several layers of media. The final Course Catalog Biomedical Art 96

work will have the following: a two sentence display, museum arts, and how traditional Biomedical Art major are required to work with (maximum) Thesis Statement, a designed/ media intersects with contemporary digital subjects appropriate to their major field of study written proposal, research paper, business media, to inform and educate specific for concept development and for long term oriented documentation, a digital presentation audiences at public institutions of culture/ portfolio objectives. Projects include concepts to explain the work, artist statement/project knowledge. Course work will be hands-on and workflow for constructing a virtual 3D scope statement, and the final project depicting practice of techniques and concepts presented surface by: (1) defining the visual problem the solution for the BFA Exhibition. Offered fall. in lecture, discussion of readings, and critique within a concept drawing in pre-production, (2) 3 credits. of student projects. This class will involve utilizing specific introductory modeling methods both ideation and proposal development, as to build the 3D illustration components, (3) the well as producing 1 to 2 educational media use of basic lighting and rendered materials, Biomedical Art: BFA Thesis installations in collaboration with the curators (4) export methods into Adobe Photoshop for BMA406 and staff at the Cleveland Museum of Natural illustrated compositing with digital illustration This course is designed to act as a summative History, the Cleveland Botanical Gardens, and techniques and layout. Projects require the experience for the student. The final BFA the Cleveland Metroparks Zoo. The course will student to gain and improve upon research Thesis Project will be a collaborative-project also incorporate field trips and guest lecturers methods, visual communication skills, problem- based learning system with requirements to to supplement the knowledge and practiced solving in specific media (digital 2D and 3D) solve and effectively communicate a medical gained from studio practice. Projects will and technical proficiency at an introductory or scientific problem. Integration of outside involve working with diverse materials, media, level in 3D modeling. 3 credits. resources, effective client communication, and electronic media. 3 credits. professional practices, presentation and documentation of the process will be expected. 3D Texture, Mapping, Digital The spring section of the course will serve Special Topics Elective: Micro and Lighting, and Rendering as the means to complete the production Macroscopic Narrative Cultures BMA447 and exhibition portion of the BFA project. BMA407 This course is designed to cover concepts The expectation will be a fully realized and The course is designed to utilize the Biomedical in digital application of texture maps (for completed BFA Project with the necessary Art Major upper level science requirements virtual 3D models); 3D material qualities supporting documentation, research paper, at CWRU/CSU in microbiology, genetics, and characteristics, digital lighting concepts artist statement, project statement and any histology, ecology and/or animal anatomy; and design, and rendering methods. The specific media (print or digital) that is needed to design and create visualizations based in importance of digital cinematography, scene for exhibition and installation. The choice of microscopic and macroscopic imaging with arrangement and compositing of 3D elements media will be evaluated on its appropriateness the use of contemporary media techniques of color, camera and light are goals of aesthetic for communicating the message and solving (animation, interactivity, digital illustration integration The subject matter within the the problem. The project visualization will techniques.) The course serves as an Biomedical Art curriculum reflects the subject be student driven; content needs will be upper level experimental practice in applied matter of natural science, medicine, and determined by the student and the research. biomedical art industries, whereby specific educational media. Elective students may The emphasis in this course will be on the projects are devoted to showing mechanisms use the course to their individual major focus, conceptual development and its realization of action (M.O.A.) of specific micro and macro but must fulfill the knowledge of concepts through a design process which fully addresses systems. The course is open to Biomedical and project objectives. Projects include the restraints of client collaboration, audience, Art Majors and non-majors with specific concept integration into technical production time, and budgetary considerations. Offered studio focus in the areas of art, science, and workflow for describing digital 3D surfaces spring. 3 credits. technology with permission from the instructor. and scenes; creating compositional balance 3 credits. of camera, texture (color), and light to illustrate a narrative scene. Projects require the student Exhibition Media Installation to continually improve upon conceptual BMA406B 3D Bioforms: Intro to 3D Modeling problem solving, time management strategies, This Educational Media Installation class serves BMA445 communication/presentation, and technical as an introduction to and the exploration This course is designed to cover concepts skills. 3 credits. of media installation and exhibition design in digital 3D organic and device model techniques; including how physical media, construction, whereby the virtual models and virtual interactive and linear media can designed are rendered and composited for 2D be applied to educational and informational illustration purposes to solve specific visual settings including Museums, Cultural communication problems. The subject matter Institutions and Public Education access within the Biomedical Art curriculum reflects points. Lectures will cover concepts and the subject matter of natural science, medicine, presentations of the history of educational and biotechnology. Students outside the 97

Biomedical Art: Forensic Imaging/Modeling BMA456 This course is an introduction to Forensic Modeling and Reconstruction methods and concepts; which brings materials developed in the medical and forensic industry to the sculpture lab. Materials such as clay, plaster, alginate used in body casting, silicone molding materials, polyurethanes, and clear casting materials will be used in projects that reconstruct facial, and human body elements from skull and environmental clues. The course will utilize the Cleveland Museum of Natural History specimens, and possible visits to local forensic agencies for additional hands on applications. Experimentation and integration of sculpture methods to produce body and facial reconstructions will be explored. The course is open to all majors and non-majors as an elective; No previous experience necessary. 3 credits.

Biomedical Art: Internship BMA499 This course is designed as a 3 credit professional internship in the area of biomedical art; and in association with an industry specific job (client, company or institution.) Any major seeking to register for the Biomedical Art Internship must seek PRIOR APPROVAL by the Head of the Biomedical Art Department. The internship will be graded in accordance with the CIA grading standards, and professional review with the company and/ or client providing the opportunity. 3 credits. Course Catalog Graphic/Communication Design 98

the students develop overall presentation Graphic/ Prerequisites: CDS203 Typography I abilities, while building a basic understanding or equivalent. the keys elements of graphic and Graphic/ Communication Communication Design. Offered fall. 3 credits.

Design Graphic User Interface: Information Architecture Graphics for Design CDS206 CDS238 Typography I In the information age, the presentation This course is designed to teach graphic CDS203 of information is of special importance. presentation skills for non-majors in the first This is one of the two central classes in the Information surrounds us at every moment: semester, and to help students create an first year of study in Graphic/Communication the phone bill, the weather forecast, global effective professional presentation package Design (alongside Design for Communication I) warming reports, the list of your friends in the second. The first semester focuses on In the first semester, students become familiar on Facebook...all of this information must developing an understanding of key graphic with the broader discipline of the field through be organized in some fashion to make it elements, including; grid, type and hierarchy. the construction of abstract design concepts, meaningful. This course will focus on how The second semester focuses on students layout, symbols, and sequential systems. designers and artists can effectively represent using these elements to develop their personal Conceptual thinking and the integration information in a visual format. Special emphasis portfolios and professional presentation of typography with imagery are explored will be placed on how information is used to packages. The emphasis of the entire course throughout the course. In the 2nd semester, persuade or affect us. Concepts explored will is to teach effective visual presentation students investigate projects that follow the include informational systems and graphics skills. All assignments are geared to help various sub-fields of the profession; projects developed for physical and electronic media. the students develop overall presentation include Identity, Web/Interactive, Information Students will architect informational systems abilities, while building a basic understanding and Wayfinding. Each project begins with a in a medium of their choice (online, print, the keys elements of graphic and Graphic/ lecture and demonstration of techniques. Each painting, etc.). 3 credits. Communication Design. Offered spring. week, students practice presentation to the 3 credits. larger group in formal and informal critique and brainstorming sessions. Faculty will work one Limited Edition Portfolio on one with students to answer questions and Publication Design for Communication I assist in the process. Reviews will be held at CDS207 CDS265 key points during each project. Offered fall. This course revolves around creation of a well This is one of the two central classes in the 3 credits. designed, beautifully executed, printed and first year of study in Graphic/Communication bound “leave behind” portfolio. Responsible Design (alongside Typography). In the first experimentation with production tools and semester, students become familiar with the Typography II facilities is encouraged to expand and broader discipline of the field through the CDS204 challenge the process. The course objectives construction of abstract design concepts, Through the use of studied, well designed will be pursued through explanations, layout, symbols, and sequential systems. ,and competently executed design solutions, demonstrations, and critiques. 3 credits. Conceptual thinking and the integration we will emphasize the effective and sensitive of typography with imagery are explored use of typeforms in complex and sustained throughout the course. In the 2nd semester, communication projects. The attributes of Graphics for Design students investigate projects that follow the rhythm, proportion, hierarchy, and progression CDS237 various sub-fields of the profession; projects will be investigated, emphasized, and practiced This course is designed to teach graphic include Identity, Web/Interactive, Information to produce excellent quality professional presentation skills for non-majors in the first and Wayfinding. Students will be assigned solutions. Projects are carried out in varying semester, and to help students create an multiple projects throughout the year. Each degrees of execution including sketchbook effective professional presentation package project begins with a lecture and demonstration roughs, presentation sketches, laser in the second. The first semester focuses on of techniques. Each week, students practice comprehensives, and finished art. Thoughtful developing an understanding of key graphic presentation to the larger group in formal and experimentation with the software and imaging elements, including; grid, type and hierarchy. informal critique and brainstorming sessions. equipment is encouraged to extend and The second semester focuses on students Faculty will work one on one with students to challenge the process. The course objectives using these elements to develop their personal answer questions and assist in the process. will be pursued through assigned projects, portfolios and professional presentation Reviews will be held at key points during each explanations, demonstrations, and packages. The emphasis of the entire course project. Offered fall. group critiques. 3 credits. is to teach effective visual presentation skills. All assignments are geared to help Course Catalog Graphic/Communication Design 99

3 credits. This class builds and expands the study begun production tools and facilities is encouraged to in Web Design/Interactive 1 (Graphic User expand and challenge the process. The course Design for Communication II Interface 1). Students move to more advanced objectives will be pursued through explanations, CDS266 structures and interface ideas. Experimental demonstrations, and critiques. This is one of the two central classes in the possibilities are explored as students develop 3 credits. first year of study in Graphic/Communication web and portable device designs, furthering Design (alongside Typography). In this course, the skills learned in the first section of the class. students investigate projects that follow the 3 credits. Publication Design various sub-fields of the profession; projects CDS35X include Identity, Web/Interactive, Information Prerequisites: CDS305 This course covers contemporary issues in and Wayfinding. Each project begins with a Web Design/Interactive I Publication Design. The aesthetic of type and lecture and demonstration of techniques. Each image remains the most widespread media for week, students practice presentation to the Graphic User Interface: graphic designers. Aspects of the printed word larger group in formal and informal critique and Information Architecture and image will be investigated and considered brainstorming sessions. Faculty will work one CDS306 in this class by focusing on the process by on one with students to answer questions and In the information age, the presentation which ideas are developed, conceived, written, assist in the process. Reviews will be held at of information is of special importance. edited, and ultimately presented. Publication key points during each project. Offered Spring. Information surrounds us at every moment: Design will explore projects that will include 3 credits. the phone bill, the weather forecast, global exercises focused on working within a team, warming reports, the list of your friends within budgets, with other professionals, and Prerequisites: CDS265 Design for on Facebook...all of this information must with key vendors. The sequence of the idea Communication I or permission of the instructor. be organized in some fashion to make it is stressed, including how these ideas are meaningful. This course will focus on how presented and revealed through a variety of designers and artists can effectively represent publishing media. 3 credits. Web Design/Interactive I information in a visual format. Special emphasis CDS305 will be placed on how information is used to Through this course, students will learn persuade or affect us. Concepts explored will Production Seminar how to use different software tools to include informational systems and graphics CDS360 design, implement, and produce a Graphic developed for physical and electronic media. This required course begins with one simple User Interface. Our efforts will be mostly Students will architect informational systems question: What do you want to make? The concentrated on creating web/internet/ in a medium of their choice (online, print, rest of the course is devoted to learning how interactive projects, as these will allow for the painting, etc.). 3 credits. to “make things” in the vast array of facilities exercise of ideas and tools across the entire open to today’s designers. The process design spectrum. Students will have a grasp of making things is approached from a of the essential technology used for web Limited Edition Portfolio practical side (understanding materials and applications: the Hyper-Text Markup Language Publication digital tools) and a theoretical side (social (including HTML 5) and Cascading Style CDS307 responsibility and sustainability). Students Sheets (CSS). You will be introduced to several This course revolves around creation of a well learn to form successful teams to define and techniques that will allow you to begin making designed, beautifully executed, printed and produce projects. Prerequisites: Design for interactive applications, which include PHP, bound “leave behind” portfolio. Responsible Communication and Typography or Permission JQuery and Javascript, as well as looking at experimentation with production tools and of the Instructor. Offered fall. 3 credits. user experience and design of apps for smart facilities is encouraged to expand and phone and pads. The course will also include challenge the process. The course objectives an introduction to designing and creating will be pursued through explanations, Graphic/Communication Design: Epub formats. Offered Fall. 3 credits. demonstrations, and critiques. 3 credits. Advanced Studio CDS365 Prerequisites: CDS265 Design for This is the core class for the second year Communication I or permission of the instructor. Hand Made Book (junior) of study in the major. The class works CDS309 on client-based projects. All students work on Web Design/Interactive II This course will encompass an introduction to the projects, all students present to clients, and CDS305B bookbinding tools and techniques. A hands on one design is chosen to be realized. During the approach to the school’s production facilities to afford students the opportunity to work with the potentials and limitations of the reproduction process. Responsible experimentation with Course Catalog Graphic/Communication Design 100

course, iterations and presentation skills are Internship the phone bill, the weather forecast, global stressed as students learn how to navigate the CDS399 warming reports, the list of your friends crucial relationship with the client. Students Elective credit can be given on a case-by- on Facebook… all of this information must work within realistic industry deadlines case basis for an internship developed by be organized in some fashion to make it and adhere to specific current production student through the career services office, meaningful. This course will focus on how requirements. Students will realize a number of with advance permission of instructor and designers and artists can effectively represent presentations for clients throughout the year. head of department. information in a visual format. Special emphasis They practice and realize both hard-copy and will be placed on how information is used to digital presentations. Research, empathy, and persuade or affect us. Concepts explored will design skills are stressed. Offered Fall. Web Design/Interactive I include informational systems and graphics 3 credits. CDS405 developed for physical and electronic media. Through this course, students will learn Students will architect informational systems Prerequisites: CDS203 Typography I and how to use different software tools to in a medium of their choice (online, print, CDS265 Design for Communication I are design, implement, and produce a Graphic painting, etc.). 3 credits. strongly recommended. User Interface. Our efforts will be mostly concentrated on creating web/internet/ interactive projects, as these will allow for the Limited Edition Portfolio Graphic/Communication Design: exercise of ideas and tools across the entire Publication Advanced Studio design spectrum. Students will have a grasp CDS407 CDS366 of the essential technology used for web This course revolves around creation of a well This is the core class for the second year applications: the Hyper-Text Markup Language designed, beautifully executed, printed and (junior) of study in the major. The class works (including HTML 5) and Cascading Style bound “leave behind” portfolio. Responsible on client-based projects. All students work on Sheets (CSS). You will be introduced to several experimentation with production tools and the projects, all students present to clients, and techniques that will allow you to begin making facilities is encouraged to expand and one design is chosen to be realized. During the interactive applications, which include PHP, challenge the process. The course objectives course, iterations and presentation skills are JQuery and Javascript, as well as looking at will be pursued through explanations, stressed as students learn how to navigate the user experience and design of apps for smart demonstrations, and critiques. 3 credits. crucial relationship with the client. Students phone and pads. The course will also include work within realistic industry deadlines an introduction to designing and creating and adhere to specific current production Epub formats. 3 credits. Hand Made Book requirements. Students will realize a number of CDS409 presentations for clients throughout the year. Prerequisites: CDS265 Design for This course will encompass an introduction to They practice and realize both hard-copy and Communication I or permission of the instructor. bookbinding tools and techniques. A hands-on digital presentations. Research, empathy, and approach to the school’s production facilities, design skills are stressed. Offered Spring. giving students the opportunity to work with the 3 credits. Web Design/Interactive II potentials and limitations of the reproduction CDS405B process. Responsible experimentation with Prerequisites: CDS203 Typography I This class builds and expands the study begun production tools and facilities is encouraged to and CDS265 Design for Communication I in Web Design/Interactive 1 (Graphic User expand and challenge the process. The course Interface 1). Students move to more advanced objectives will be pursued through explanations, structures and interface ideas. Experimental demonstrations, and critiques. Contemporary Marketing possibilities are explored as students develop 3 credits. and Art Direction web and portable device designs, furthering CDS367 the skills learned in the first section of the class. Prerequisites: None; CDS203 Typography I Focuses on using Graphic/Communication Offered Spring. 3 credits. and CDS265 Design for Communication I are Design and visualization skills to communicate strongly recommended. ideas in print and in new media. Heavy Prerequisites: CDS305 emphasis on conceptualization. Classroom Web Design/ Interactive I discussions along with critiques set up to Publication Design mimic actual creative department environment. Graphic User Interface: CDS45X Offered fall. 3 credits. Information Architecture This course covers contemporary issues in CDS406 Publication Design. The aesthetic of type and In the information age, the presentation image remains the most widespread media for Graphic/Communication Design: of information is of special importance. graphic designers. Aspects of the printed word Information surrounds us at every moment: and image will be investigated and considered Course Catalog Graphic/Communication Design 101

in this class by focusing on the process by which ideas are developed, conceived, written, edited, and ultimately presented. Publication Design will explore projects that will include exercises focused on working within a team, within budgets, with other professionals, and with key vendors. The sequence of the idea is stressed, including how these ideas are presented and revealed through a variety of publishing media. 3 credits.

BFA Thesis CDS465 This is the core class for the senior year of study in the major. The class meets weekly for presentations and to develop research skills and strategic practice. This is the research and idea-phase of the BFA thesis presented in the spring. Presentation, research, and ideational skills are stressed. Offered fall. 3 credits.

BFA Statement and Exhibtion CDS466 This is the second half of core class for the senior year of study in the major. This is the realization phase of the BFA thesis presented at the end of the semester. Offered Spring. 3 credits.

Prerequisites: Students must be working toward a BFA in one of the Design Environment departments. Other students may be admitted with permission of the instructor.

Graphic/Communication Design: Internship CDS499 Elective credit can be given on a case-by- case basis for an internship developed by student through the career services office, with advance permission of instructor and head of department. Course Catalog Ceramics 102

“Work in Progress Reviews”. Lectures will treatments. Kiln firing will be introduced, Ceramics address historical and contemporary work in including gas and electric kilns. We will discuss art, design and ceramics. 3 credits. artworks made from clay in the past, present and future. This class is open to all: take Ceramics: Image, Pattern, Prerequisites: Previous clay work. as preparation for other course work in the and Surface in Clay Ceramics Department. 3 credits. CER202 Students take the idea developed in the Fall Ceramics: Advanced Handbuilding term and create the visual exhibition of that CER243 Ceramics: Raw Materials idea. In addition to creating the thesis project, This course will explore basic and advanced CER249 a portion of the class will be devoted to hand-building techniques to explore individual This course will combine ceramic fabrication installation and spatial graphics for the design. investigation of clay for personal ideation skills with an emphasis on clay body 3 credits. and concepts. We will make glazes, fire kilns formulation and glaze testing and development. and explore ceramic history. We will cover all Students will learn press molding, tile making, types of work from utility to sculpture and its and hand-building skills along with clay and Ceramics: The Potter’s relationship to site and place. The class will glazes for multiple uses and temperatures. Wheel/Utility and Product research and test various ceramic materials, Class will include lectures, lab work, and CER240 clay bodies and surface treatments. Open to all. instruction in firing gas and electric kilns. Wheel based vessels and sculptural forms will 3 credits. Required of all Ceramic Majors. Open to all. be explored in this class. The potter’s wheel 3 credits. is an important tool for artists and designers who want to create compositional forms using Ceramics: Alchemy multiple parts. Glaze making, glazing and of Fire and Clay Ceramics: Architectonic Clay kiln firing will be incorporated into this course. CER244 and Ceramic Sculpture Lectures on historical and contemporary Students will explore and experiment with CER250 ceramic works will be included to further help ancient and contemporary firing techniques, This course will focus on creating works of student create a personal direction. Some such as raku, pit firing, sawdust and saggar ceramic sculpture and ceramic works that wheel work suggested. Required of all Ceramic firing. Ceramic history of the vessel and will be presented on the wall, floor or used Majors. Open to all. 3 credits. sculpture traditions will be covered. Work as an architectural element or ornament will be fabricated using the wheel and hand such as public and domestic art projects building techniques. The class will work and tile projects. We will cover basic ceramic Ceramics: Major Day/ on drawing and image making using these fabrication to include, Large scale work in clay, Special Projects primeval traditions to create their own personal The use of ceramic materials and construction CER241M idiom and concepts. Open to all. 3 credits. techniques to create sculpture, tile making, Students will work on self-proposed projects, press molding, use of the extruder, glazing which explore content, meaning and material and firing of gas and electric kilns. Lectures in two and three dimensions. Conceptual and Ceramics: Architectonic Clay will include historical and contemporary works. critical thinking will be addressed in weekly and Ceramic Sculpture Projects will include architecture based work “Work in Progress Reviews”. Lectures will CER245 for domestic and public formats, experimental address historical and contemporary work in Clay is an easily accessible material, which unfired solutions and two dimensional pattern art, design and ceramics. 3 credits. makes it ideal for creating both figurative and and design work, ceramic surface development, abstract sculpture. The use of ceramic material and all Ceramic traditions, which address Prerequisites: Previous clay work. and construction techniques will be utilized to subject matter outside of domestic utility. Clay explore the relationship of form to space and is an easily accessible material that makes it the environment where the objects reside. ideal for creating both figurative and abstract Ceramics: Major Day/Special 3 credits. works in any scale. The course will include Projects some research and testing of sculpture bodies CER242M and surfaces. 3 credits. Students will work on self-proposed projects, Ceramics: The Narrative Vessel which explore content, meaning and material CER246 Prerequisites: Some clay working experience in two and three dimensions. Conceptual and The focus of this class will be the ceramic (high school, college level, or equivalent). It critical thinking will be addressed in weekly object as a vehicle for two and three- would be valuable to students in Ceramics, dimensional expression. We will introduce the potter’s wheel, handbuilding/forming techniques along with glazing and surface Course Catalog Ceramics 103

Glass, Metals, Design, Interiors, Sculpture, We will explore the fabrication of large scale, in two and three dimensions. Conceptual and Painting, and Drawing. See Ceramics: 241, hand-built structures and vessels. Ceramic critical thinking will be addressed in weekly 341, 441: Introduction to Three-Dimensional history, surface considerations and non- “Work in Progress Reviews”. Lectures will Plastic Media. traditional finishing techniques will be utilized. address historical and contemporary work in The class will address drawing and mark art, design and ceramics. 3 credits. making in relation to mass and volume. Clay Ceramics: Nature/Structure in various forms, fired and unfired, will be Prerequisites: Previous clay work required. CER251 investigated to problem solve and create large- In this class we will be looking to nature for scale clay tiles, relief work, murals, multiples Ceramics: Majory Day/Special inspiration. The natural world and its infinite and installations. Open to all. 3 credits. Projects structures, patterns, and phenomena are an CER342M inexhaustible source for visual artists. We will Prerequisites: Some previous clay experience Students will work on self-proposed projects, make use of this vast resource, bringing traces is required. which explore content, meaning and material of what can be discovered and integrated into in two and three dimensions. Conceptual and our clay work. Both form and surface will be critical thinking will be addressed in weekly studied and utilized and we will learn to fire Ceramics: Image, Pattern, “Work in Progress Reviews”. Lectures will a variety of kilns. There will be lectures on and Surface in Clay address historical and contemporary work in contemporary and historical art and design in CER302 art, design and ceramics. 3 credits. clay. Required of all Ceramic Majors. This class will concentrate on the integration Open to all. 3 credits. of form and surface using drawing, painting, Prerequisites: Previous clay work required. pattern and mark making on ceramics. We will use ceramic materials, print processes, decals Ceramics: Table for Two: Evolving and digital imagery on both two and three Ceramics: Advanced Handbuilding Rituals of Food dimensional clay objects. We will research CER343 CER252 historical and current ceramic works and the This course will explore basic and advanced We will focus on the human experience technology of image making on clay to invent hand-building techniques to explore individual of eating, and the rituals and modes of a personal narrative. Required of all Ceramic investigation of clay for personal ideation communication involving community, food Majors. Open to all. 3 credits. and concepts. We will make glazes, fire kilns and drink. The potter’s wheel will be our and explore ceramic history. We will cover all primary means of fabrication for the creation of Prerequisites: Some clay working experience types of work from utility to sculpture and its objects, parts and multiples. Glaze formulation, is suggested. relationship to site and place. The class will surface techniques and firing of kilns will be research and test various ceramic materials, incorporated in this class. Required of all clay bodies and surface treatments. Open to all. Ceramic Majors. Open to all. 3 credits. Ceramics: The Potter’s Wheel/ 3 credits. Utility and Product CER340 Ceramics Vessel Utility Wheel based vessels and sculptural forms will Ceramics: Alchemy CER253 be explored in this class. The potter’s wheel of Fire and Clay This course will investigate the historical and is an important tool for artists and designers CER344 contemporary forms of the ceramic vessel/ who want to create compositional forms using Students will explore and experiment with pot. The dual nature of works that function, as multiple parts. Glaze making, glazing and ancient and contemporary firing techniques, receptacles for meaning and narrative as well kiln firing will be incorporated into this course. such as raku, pit firing, sawdust and saggar as domestic work for the table or presentation Lectures on historical and contemporary firing. Ceramic history of the vessel and will be researched. Construction techniques to ceramic works will be included to further help sculpture traditions will be covered. Work be covered will include hand building and the student create a personal direction. Required of will be fabricated using the wheel and hand potter’s wheel along with a variety of surface all Ceramic Majors. Open to all. 3 credits. building techniques. The class will work treatments and firing methods. Open to all. on drawing and image making using these 3 credits. Prerequisites: Some wheel work suggested. primeval traditions to create their own personal idiom and concepts. Open to all. 3 credits. Ceramics: Monumental Ceramics Ceramics: Major Day/Special CER260X Projects CER341M Students will work on self-proposed projects, which explore content, meaning and material Course Catalog Ceramics 104

Ceramics: Architectonic Clay all majors. Open to all. 3 credits. and Ceramic Sculpture Ceramics: Raw Materials CER345 CER349 Clay is an easily accessible material, which This course will combine ceramic fabrication makes it ideal for creating both figurative and skills with an emphasis on clay body abstract sculpture. The use of ceramic material formulation and glaze testing and development. and construction techniques will be utilized to Students will learn press molding, tile explore the relationship of form to space and making, and hand-building skills along the environment where the objects reside. with clay and glazes for multiple uses and 3 credits. temperatures. Class will include lectures, lab work, and instruction in firing gas and electric kilns. Lectures will address historical and Ceramics: The Narrative Vessel contemporary ceramic works, along with CER346 technical issues. Required of all Ceramic The focus of this class will be the ceramic Majors. Open to all. 3 credits. object as a vehicle for two and three- dimensional expression. We will introduce the potter’s wheel, handbuilding/forming Ceramics: Nature/Structure techniques along with glazing and surface CER351 treatments. Kiln firing will be introduced, In this class we will be looking to nature for including gas and electric kilns. We will discuss inspiration. The natural world and its infinite artworks made from clay in the past, present structures, patterns, and phenomena are an and future. This class is open to all: take inexhaustible source for visual artists. We will as preparation for other course work in the make use of this vast resource, bringing traces Ceramics Department. 3 credits. of what can be discovered and integrated into our clay work. Both form and surface will be studied and utilized and we will learn to fire Ceramics: Majolica, a variety of kilns. There will be lectures on The Painted Pot contemporary and historical art and design in CER347 clay. Required of all Ceramic Majors. This course will explore the use of the painted Open to all. 3 credits. image and pattern through the tin-glazed Majolica earthenware tradition. This is a brightly colored glazing technique steeped in Ceramics: Table for Two: Evolving the ceramic history of the Middle East, Spain, Rituals of Food Italy, and the Netherlands. Wheel based and CER352 handbuilt fabrication will be taught along We will focus on the human experience with over-glaze brush techniques. Students of eating, and the rituals and modes of will investigate personal iconography and its communication involving community, food connection to form, volume and content. Some and drink. The potter’s wheel will be our clay experience is useful. Open to all. 3 credits. primary means of fabrication for the creation of objects, parts and multiples. Glaze formulation, surface techniques and firing of kilns will be Ceramics: Multiples/Moldmaking incorporated in this class. Required of all CER348 Ceramic Majors. Open to all. 3 credits. The class will be engaged with the concepts of multiples in the making of contemporary functional, sculptural and design works. Mold Ceramics Vessel Utility making; such as drain cast, press molds and CER353 other production techniques will be utilized This course will investigate the historical and along with the use of 3-D modeling. when contemporary forms of the ceramic vessel/ necessary. There will be lectures that address pot. The dual nature of works that function, as technical issues and artworks made of clay, receptacles for meaning and narrative as well both historical and contemporary. Required of as domestic work for the table or presentation will be researched. Construction techniques to Course Catalog Ceramics 105

be covered will include hand building and the historical and current ceramic works and the Ceramics: Advanced Handbuilding potter’s wheel along with a variety of surface technology of image making on clay to invent CER443 treatments and firing methods. Open to all. a personal narrative. Some clay working This course will explore basic and advanced 3 credits. experience is suggested. Required of all hand-building techniques to explore individual Ceramic Majors. Open to all. 3 credits. investigation of clay for personal ideation and concepts. We will make glazes, fire kilns Ceramics: Surface and Form and explore ceramic history. We will cover all CER355 Ceramics: The Potter’s Wheel/ types of work from utility to sculpture and its Students will work on assigned and self- Utility and Product relationship to site and place. The class will proposed projects which explore the ceramic CER440 research and test various ceramic materials, surface in relationship to two and three- Wheel based vessels and sculptural forms will clay bodies and surface treatments. dimensional form. Concepts and critical be explored in this class. The potter’s wheel Open to all. 3 credits. theory will be addressed. Lectures will is an important tool for artists and designers discuss historical and contemporary art who want to create compositional forms using and design history. 3 credits. multiple parts. Glaze making, glazing and Ceramics: Alchemy kiln firing will be incorporated into this course. of Fire and Clay Prerequisites: Previous clay working experience Lectures on historical and contemporary CER444 required. ceramic works will be included to further help Students will explore and experiment with student create a personal direction. Some ancient and contemporary firing techniques, wheel work suggested. Required of all Ceramic such as raku, pit firing, sawdust and saggar Ceramics: Monumental Ceramics Majors. Open to all. 3 credits. firing. Ceramic history of the vessel and CER360X sculpture traditions will be covered. Work We will explore the fabrication of large scale, will be fabricated using the wheel and hand hand-built structures and vessels. Ceramic Ceramics: Major Day/ building techniques. The class will work history, surface considerations and non- Special Projects on drawing and image making using these traditional finishing techniques will be utilized. CER441M primeval traditions to create their own personal The class will address drawing and mark Students will work on self-proposed projects, idiom and concepts. making in relation to mass and volume. Clay which explore content, meaning and material Open to all. 3 credits. in various forms, fired and unfired, will be in two and three dimensions. Conceptual and investigated to problem solve and create large- critical thinking will be addressed in weekly scale clay tiles, relief work, murals, multiples “Work in Progress Reviews”. Lectures will Ceramics: Architectonic Clay and and installations. Open to all. 3 credits. address historical and contemporary work in Ceramic Sculpture art, design and ceramics. 3 credits. CER445 Prerequisites: Some previous clay experience Clay is an easily accessible material, which is required. Prerequisites: Previous clay work required. makes it ideal for creating both figurative and abstract sculpture. The use of ceramic material and construction techniques will be utilized to Ceramics: Internship Ceramics: Major Day/ explore the relationship of form to space and CER399 Special Projects the environment where the objects reside. Elective credit can be given on a case-by- CER442M 3 credits. case basis for an internship developed by Students will work on self-proposed projects, student through the career services office, which explore content, meaning and material with advance permission of instructor and in two and three dimensions. Conceptual and Ceramics: The Narrative Vessel head of department. critical thinking will be addressed in weekly CER446 “Work in Progress Reviews”. Lectures will The focus of this class will be the ceramic address historical and contemporary work in object as a vehicle for two and three- Ceramics: Image, Pattern, art, design and ceramics. 3 credits. dimensional expression. We will introduce and Surface in Clay the potter’s wheel, handbuilding/forming CER402 Prerequisites: Previous clay work required. techniques along with glazing and surface This class will concentrate on the integration treatments. Kiln firing will be introduced, of form and surface using drawing, painting, including gas and electric kilns. We will discuss pattern and mark making on ceramics. We will artworks made from clay in the past, present use ceramic materials, print processes, decals and future. This class is open to all: take and digital imagery on both two and three as preparation for other course work in the dimensional clay objects. We will research Ceramics Department. 3 credits. Course Catalog Ceramics 106

Ceramics: Majolica, such as public and domestic art projects surface techniques and firing of kilns will be The Painted Pot and tile projects. We will cover basic ceramic incorporated in this class. Required of all CER447 fabrication to include, Large scale work in clay, Ceramic Majors. Open to all. 3 credits. This course will explore the use of the painted The use of ceramic materials and construction image and pattern through the tin- glazed techniques to create sculpture, tile making, Majolica earthenware tradition. This is a press molding, use of the extruder, glazing Ceramics Vessel Utility brightly colored glazing technique steeped in and firing of gas and electric kilns. Lectures CER453 the ceramic history of the Middle East, Spain, will include historical and contemporary works. This course will investigate the historical and Italy, and the Netherlands. Wheel based and Projects will include architecture based work contemporary forms of the ceramic vessel/ handbuilt fabrication will be taught along for domestic and public formats, experimental pot. The dual nature of works that function, as with over-glaze brush techniques. Students unfired solutions and two dimensional pattern receptacles for meaning and narrative as well will investigate personal iconography and its and design work, ceramic surface development, as domestic work for the table or presentation connection to form, volume and content. Some and all Ceramic traditions, which address will be researched. Construction techniques to clay experience is useful. Open to all. 3 credits. subject matter outside of domestic utility. Clay be covered will include hand building and the is an easily accessible material that makes it potter’s wheel along with a variety of surface ideal for creating both figurative and abstract treatments and firing methods. Open to all. Ceramics: Multiples/Moldmaking works in any scale. The course will include 3 credits. CER448 some research and testing of sculpture bodies The class will be engaged with the concepts and surfaces. 3 credits. of multiples in the making of contemporary Ceramics: Surface and Form functional, sculptural and design works. Mold Prerequisites: Some clay working experience CER455 making; such as drain cast, press molds and (high school, college level, or equivalent). Students will work on assigned and self- other production techniques will be utilized It would be valuable to students in Ceramics, proposed projects which explore the ceramic along with the use of 3-D modeling. when Glass, Metals, Design, Interiors and sculpture, surface in relationship to two and three- necessary. There will be lectures that address painting, and drawing. Some clay working dimensional form. Concepts and critical technical issues and artworks made of clay, experience suggested. See Ceramics: 241, theory will be addressed. Lectures will both historical and contemporary. Required of 341, 441: Introduction to Three-Dimensional discuss historical and contemporary art all majors. Open to all. 3 credits. Plastic Media. and design history. 3 credits.

Prerequisites: Previous clay working Ceramics: Raw Materials Ceramics: Nature/Structure experience required. CER449 CER451 This course will combine ceramic fabrication In this class we will be looking to nature for skills with an emphasis on clay body inspiration. The natural world and its infinite Ceramics: Monumental Ceramics formulation and glaze testing and development. structures, patterns, and phenomena are an CER460X Students will learn press molding, tile inexhaustible source for visual artists. We will We will explore the fabrication of large scale, making, and hand-building skills along make use of this vast resource, bringing traces hand-built structures and vessels. Ceramic with clay and glazes for multiple uses and of what can be discovered and integrated into history, surface considerations and non- temperatures. Class will include lectures, lab our clay work. Both form and surface will be traditional finishing techniques will be utilized. work, and instruction in firing gas and electric studied and utilized and we will learn to fire The class will address drawing and mark kilns. Lectures will address historical and a variety of kilns. There will be lectures on making in relation to mass and volume. Clay contemporary ceramic works, along with contemporary and historical art and design in various forms, fired and unfired, will be technical issues. Required of all Ceramic in clay. Required of all Ceramic Majors. investigated to problem solve and create large- Majors. Open to all. 3 credits. Open to all. 3 credits. scale clay tiles, relief work, murals, multiples and installations. Open to all. 3 credits.

Ceramics: Architectonic Clay Ceramics: Table for Two: Prerequisites: Some previous clay experience and Ceramic Sculpture Evolving Rituals of Food is required. CER450 CER452 This course will focus on creating works of We will focus on the human experience ceramic sculpture and ceramic works that of eating, and the rituals and modes of will be presented on the wall, floor or used communication involving community, food as an architectural element or ornament and drink. The potter’s wheel will be our primary means of fabrication for the creation of objects, parts and multiples. Glaze formulation, Course Catalog Ceramics 107

Ceramics: Internship CER499 Elective credit can be given on a case-by- case basis for an internship developed by student through the career services office, with advance permission of instructor and head of department. Course Catalog Craft + Material Culture 108

Craft + Material Culture: conceptual challenges. The course includes Craft + Material Surface and Image group discussion, visiting artists, field trips CMC300 and presentations. Each student will develop Culture The third year of the Craft and Material Culture a thesis in support of the studio work. A Core Curriculum will explore the integration of mandatory mid-year review at the end of the digital imaging, three-dimensional modeling, fall semester will prepare students for the oral Craft + Material Culture: Creative and the materials and processes associated defense of the BFA exhibition. Required of all Process and Materials Studies with the four major departments. The fall graduating CMC majors. Offered fall. Open to CMC200 semester course will specifically focus on electives. 3 credits. Building upon the foundation skills developed application and integration of two-dimensional in the first year of study, students will continue digital images on the surfaces and forms in clay, to explore the elements of design through their enamel, glass and metal. Through assignments Craft + Material Culture: BFA major area of study. The creative process as that will encourage the use of digital technology Statement and Exhibition it relates to the materials one selects to work for the development of image, pattern and CMC401 with will be the unifying inquiry. sophomores texture, students will utilize and develop their The goal of this course is to explore the from all majors in the Craft and Material Culture skills with imaging software and explore how concepts of emotion and aesthetic expression. Environment will explore common themes it translates into the various materials and We will seek to understand how and why while resolving assignments in the individual surfaces. Offered fall. 3 credits. emotion and aesthetic expression are central majors; ceramics, enamel, glass, jewelry and concepts in the theory and practice of art and metals. The class will support the integration of design. We seek a strategic perspective on each student’s acquired knowledge of drawing, Craft + Material Culture: Digital art and design with particular attention to the design, and color with the development of skills Modeling and Making concepts and methods of liberal arts. We seek related to the various CMC major programs. CMC301 to balance theory, practice and production and Offered fall. 3 credits. Craft + Material Culture Core 4 will explore encourage innovation and creativity. We will the integration of computer-aided design investigate concrete examples of emotional and (CAD) across the craft disciplines. Building aesthetic expression in a variety of traditional Craft + Material Culture: on the CMC Core 3 course, Digital Modeling and new media in art and design, exploring Language of Material and Making will address a range of new different subject matters, materials, forms and CMC201 materials and technologies toward innovative purposes. Final grades will be based on two As the sophomore Craft and Material Culture applications across the range of Craft, new components: class participation and written class matriculates to second semester, we will skills and knowledge from 3D modeling to assignments. Offered spring. 3 credits. explore commonalities and differences in the computer aided manufacturing, and rapid language of each of our materials. Emphasis prototyping. Projects will integrate design will be placed on the visual voice within each and output experiences toward exploration material, and in each materials process. of new materials, patterns, molds, templates, This makes for interesting investigations/ models, and objects. The seminar/studio explorations within and across mediums. course includes weekly seminar discussions, Historically then, are processes connected presentations, and reviews as well as dedicated with the evolution of function? The class will work in the studios, labs, and major spaces. explore inherent physical properties that may Laptops are recommended but not required. bring content and breadth to ideas born from Offered spring. 3 credits. the media itself. We will continue the process of research and ideation using these common themes, and explore through experimentation. Craft + Material Culture BFA Each student’s individual voice will begin Research and Thesis to emerge. Fundamental techniques will be CMC400 explored and practiced, stressing the practice This course is designed to examine concepts of the maker. Idea-books/sketchbooks will and technologies of the Craft and Material continue to be worked on as an important part Culture majors, and support the pursuit of work of the creative process. Offered spring. of individual direction. Subjects are presented 3 credits. to challenge students to conduct research and examine their own position. Discussions and presentations vary to recognize the direction of the group and include singular object-driven problems, formal issues, and Course Catalog Craft + Material Culture 109 Course Catalog Design 110

of value for designers. It also requires deeper process and a variety of design projects, Design understanding of the underlying principles including a major yearlong design project that give meaning, create value, and direct that will result in a significant portfolio work. the whole design process. The course will be The purpose of this course is to explore the Emotion and Aesthetic Expression based on readings, exercises, and a variety practical relationship between design and DES350 of practical projects that support studio entrepreneurship. This is an opportunity to The goal of this course is to explore the work. Apply as studio elective or as art/craft/ learn how products and services are developed concepts of emotion and aesthetic expression. design history/theory liberal arts distribution within for-profit and not-for-profit organizations We will seek to understand how and why requirement. 3 credits. and how design can become part of the emotion and aesthetic expression are central management of organizations. We will look concepts in the theory and practice of art and at issues of product strategy, the connection design. We seek a strategic perspective on Design in Management: Concepts, between products and services, and how to art and design with particular attention to the Methods, Production communicate design ideas to a management concepts and methods of liberal arts. We seek DES354 audience - those who make decisions that to balance theory, practice and production and This is a field-based studio course emphasizing affect the fate of design ideas. Students will encourage innovation and creativity. We will design process and a variety of design work in teams and will be challenged to fully investigate concrete examples of emotional and projects, including a major yearlong design develop new meaningful, useful and desirable aesthetic expression in a variety of traditional project that will result in a significant portfolio products. The work process will be similar to and new media in art and design, exploring work. The purpose of this course is to explore the work practices that you will find in design different subject matters, materials, forms and the practical relationship between design and firms, industry and business. This course purposes. Final grades will be based on two entrepreneurship. This is an opportunity to offers a rare senior project experience, and is components: class participation and written learn how products and services are developed team-taught by faculty from the CIA and the assignments. 3 credits. within for-profit and not-for-profit organizations Weatherhead School of Management. 3 credits. and how design can become part of the management of organizations. We will look Prerequisite: Design in Management I. Design Research Methods: at issues of product strategy, the connection Product Development between products and services, and how to and User Experience communicate design ideas to a management DES353 audience - those who make decisions that The goal of this course is to explore the affect the fate of design ideas. Students will methods by which designers come to work in teams and will be challenged to fully understand user needs, feelings, expectations, develop new meaningful, useful and desirable and values. These methods are a preparation products. The work process will be similar to for developing breakthrough products - the work practices that you will find in design tangible and intangible - as well as interactions firms, industry and business. This course and services. We will explore several methods offers a rare senior project experience, and is and their practical application in the design team-taught by faculty from the CIA and the process to develop new products and test Weatherhead School of Management. 3 credits. their usability and efficiency. Understanding user experience has become a central, Pre-scheduling open to students from the distinguishing feature of the best product Design and Integrated Media Environments. development, and our goal is to survey some of Final enrollment is limited to eight students, by the best methods in current use. For example, permission of instructors, based on interview we will learn how to build scenarios, interpret by team from CIA and Weatherhead. Contact needs, generate and test ideas, visualize Professor Kaja Tooming Buchanan after pre- information and choreograph solutions. This scheduling to arrange an interview. involves interdisciplinary understanding, because many of the methods come from other fields. The growing complexity of products in Design in Management II: our lives requires a wider understanding of how Conception, Method, Production the social and behavioral sciences, together DES355 with the humanities and cultural science, Continuation of first semester. This is a field- are of deep value in the work of design. It based studio course emphasizing design requires, for example, an understanding of case study methodology, a matrix of methods Course Catalog Design 111 Course Catalog Drawing 112

Figure Drawing 100 Drawings Drawing DRG225 DRG290 Students will develop an individual approach In creating 100 drawings within a single to the figure through relevant historical and semester, students will move through many Drawing as Image, contemporary systems of representation. This forms of drawing, from direct observation Process, and Plan course emphasizes on innovative approach to work from photographic sources, from DRG21X to drawing using the figure as a vehicle abstraction to the idiosyncratic. Assignments Initial projects of the course will focus on the and primary focus for metaphoric or literal are sequenced to encourage experimentation construction of a drawing utilizing a variety interpretations, and as a site for conceptual and play with a wide range of drawing materials of sources including: observation, historical inquiry. Diverse combinations of traditional and and methods. At the conclusion of the course, reference, photographs, digital images, and unconventional mediums will be introduced. students will have begun to develop their own the imagination. Discussion will focus on Individual reviews of work in progress and point of view, style, and approach to drawing. contextualizing the drawing as object, locating group critiques are an integral part of the studio Required for sophomore Drawing Majors. it through the study of pertinent theory and concentration. Museum, gallery excursions, 3 credits. history. In further projects students will consider and visiting artists are regularly scheduled to the drawing as part of a larger process in enlighten student pursuits. 3 credits. developing 2-D images through a variety of Drawing as Image, media. Important to this discussion will be Process, and Plan concerns of composition, scale, and media Figure Drawing DRG31X and their relationship to concept and content. DRG226 Initial projects of the course will focus on the Students will then research artists who have Students will develop an individual approach construction of a drawing utilizing a variety utilized drawing as a planning tool for film, to the figure through relevant historical and of sources including: observation, historical sculpture, and other media. The focus of these contemporary systems of representation. This reference, photographs, digital images, and projects will be on how the drawing aids the course emphasizes on innovative approach the imagination. Discussion will focus on artist in conceptualizing a form in space to drawing using the figure as a vehicle contextualizing the drawing as object, locating and time. 3 credits. and primary focus for metaphoric or literal it through the study of pertinent theory and interpretations, and as a site for conceptual history. In further projects students will consider inquiry. Diverse combinations of traditional and the drawing as part of a larger process in Drawing: Intro to Advanced unconventional mediums will be introduced. developing 2-D images through a variety of Observation, Illusionism, Concept Individual reviews of work in progress and media. Important to this discussion will be DRG220 group critiques are an integral part of the studio concerns of composition, scale, and media Advancing the illusionistic rendering skills concentration. Museum, gallery excursions, and their relationship to concept and content. developed in the first year, students will be and visiting artists are regularly scheduled to Students will then research artists who have introduced to a variety of theories related to enlighten student pursuits. 3 credits. utilized drawing as a planning tool for film, sight and perception. Students will develop sculpture, and other media. The focus of these skills with several traditional mediums and projects will be on how the drawing aids the materials as well as experiment concepts of Drawing: Images: Series, artist in conceptualizing a form in space scale, color, and mark-making. Required for Episodes, and Time and time. 3 credits. sophomore Drawing Majors. Cross-listed DRG27X with VAT. 3 credits. Through the many permutations of the discipline such as drawing as narrative, drawing Drawing: Beyond Observation as process, and drawing as animation, the DRG321 Drawing Beyond Observation concept of the sequential will be explored. This course will explore strategies for DRG221 The course will include readings, in-class representation beyond direct perception, This course will explore strategies for discussion and critiques, as well as an moving past the use of the traditional still life, representation beyond direct perception, examination of the practices of diverse artists landscape, or model as subject. How can a moving past the use of the traditional still life, including William Kentridge, Matthew Ritchie, drawing describe the world that is beyond the landscape, or model as subject. How can a Judith Bernstein, William Anastasi, and Marjane range of our common visual observations? drawing describe the world that is beyond the Satrapi. Assignments will be given that address Different approaches to drawing, including range of our common visual observations? various methods of describing time through the free-association, metaphor, and mapping Different approaches to drawing, including medium. This course is open to all majors and are explored to help define and circumvent free-association, metaphor, and mapping is cross-listed with VAT. 3 credits. personal barriers. Required for junior are explored to help define and circumvent Drawing Majors. 3 credits. personal barriers. Required for junior Drawing Majors. 3 credits. Course Catalog Drawing 113

Figure Drawing be of particular interest to students in painting, the ideas fourth dimensionality or the “hidden”. DRG325 drawing, and printmaking. Open to all Majors Students will be asked to consider ideas of Students will develop an individual approach as Elective. 3 credits. trace, residue, and rhizomatic or non-linear to the figure through relevant historical and vs. linear progressions. Questions will include: contemporary systems of representation. This Prerequisites: Intro to Painting or with the How does the student navigate both three- course emphasizes on innovative approach permission of the instructor. dimensional and conceptual spaces? How can to drawing using the figure as a vehicle space be explored, mapped, studied both as a and primary focus for metaphoric or literal Systems Drawing physical location and a spatial event. 3 credits. interpretations, and as a site for conceptual DRG360 inquiry. Diverse combinations of traditional and This course will investigate the means by which unconventional mediums will be introduced. various systems of drawing and representation Drawing: Internship Individual reviews of work in progress and function as methods of communication. How DRG399 group critiques are an integral part of the studio do historical, cultural and social contexts Elective credit can be given on a case-by- concentration. Museum, gallery excursions, frame an artist’s ability to send messages case basis for an internship developed by and visiting artists are regularly scheduled to through their work? And, like in a game of student through the career services office, enlighten student pursuits. 3 credits. telephone, in any system of communication with advance permission of instructor and it is inevitable that potential problems may head of department. occur- misunderstandings, errors, and Figure Drawing falsehoods. Can these absorbed into the DRG326 content of the work? Illusionistic, abstract, Drawing: Major Day Students will develop an individual approach allegorical, diagrammatic, mathematical DRG415M to the figure through relevant historical and and idiosyncratic systems of drawing and What provides the context for a contemporary contemporary systems of representation. This representation will be investigated through drawing? Is it the graphic novel or a classical course emphasizes on innovative approach this course, through studio practice, readings, form of figurative representation? Does it find to drawing using the figure as a vehicle critique and in-class discussion. Required of all its place in the space of the gallery or on the and primary focus for metaphoric or literal junior Drawing Majors. 3 credits. street? Students will explore the ways in which interpretations, and as a site for conceptual form and style contribute to the content of inquiry. Diverse combinations of traditional and their work. Projects are student driven with unconventional mediums will be introduced. Drawing Images: Series, an emphasis on working with each student Individual reviews of work in progress and Episodes, and Time to develop his or her ideas through research, group critiques are an integral part of the studio DRG37X exploration, and experimentation. Museum concentration. Museum, gallery excursions, Through the many permutations of the and gallery excursions and visiting artists and visiting artists are regularly scheduled to discipline such as drawing as narrative, drawing are regularly scheduled to expose students enlighten student pursuits. 3 credits. as process, and drawing as animation, the to historical and contemporary artwork and concept of the sequential will be explored. practice. Required for senior Drawing Majors. The course will include readings, in-class 3 credits. Color, Scale, Mark, and Form discussion and critiques, as well as an DRG341 examination of the practices of diverse artists ‘Figurative’, ‘abstract’, ‘conceptual’, ‘non- including William Kentridge, Matthew Ritchie, Drawing as Image, Process, and objective’, ‘romantic landscape’, and ‘post- Judith Bernstein, William Anastasi, and Plan modern’, artworks all have an underlying MarjaneSatrapi. Assignments will be given that DRG41X structure. This studio course examines how address various methods of describing time Initial projects of the course will focus on the the specificity of color, scale, mark and shape through the medium. This course is open to all construction of a drawing utilizing a variety form and affect a painting’s content. Students majors an is cross-listed with VAT. 3 credits. of sources including: observation, historical will be encouraged to focus on their own reference, photographs, digital images, and body of work while exploring issues of content the imagination. Discussion will focus on within the themes of the class through the 3-Dimensional Drawing: contextualizing the drawing as object, locating investigation of their own studio practice, as The Psychology of Space it through the study of pertinent theory and well as looking at and analyzing the work of DRG38X history. In further projects students will consider other artists throughout history. This course will Through a theoretical understanding of drawing the drawing as part of a larger process in as mapping students will be asked to deal with developing 2-D images through a variety of problems of three-dimensionality in relationship media. Important to this discussion will be to movement and time through space. Of concerns of composition, scale, and media particular interest will be concerns of mapping, and their relationship to concept and content. spatial location and relative positioning and Students will then research artists who have Course Catalog Drawing 114

utilized drawing as a planning tool for film, concentration. Museum, gallery excursions, misunderstandings, errors, and falsehoods. sculpture, and other media. The focus of and visiting artists are regularly scheduled to Can these absorbed into the content of these projects will be on how the drawing aids enlighten student pursuits. 3 credits. the work? Illusionistic, abstract, allegorical, the artist in conceptualizing a form in space diagrammatic, mathematical and idiosyncratic and time. 3 credits. systems of drawing and representation will Drawing Thesis be investigated through this course, through Drawing: Beyond Observation DRG430 studio practice, readings, critique and in-class DRG421 Building on understandings of narrative, discussion. Required of all junior Drawing This course will explore strategies for systems and context, students will work Majors. 3 credits. representation beyond direct perception, towards the creation of a final BFA thesis. moving past the use of the traditional still life, Through working in the studio, students landscape, or model as subject. How can a will build a coherent understanding of the Drawing Images: Series, drawing describe the world that is beyond the process, content, and context for their Episodes, and Time range of our common visual observations? artwork, as drawing. Students will produce DRG47X Different approaches to drawing, including works in response to topics and through Through the many permutations of the free-association, metaphor, and mapping critique, readings and discussion come to an discipline such as drawing as narrative, drawing are explored to help define and circumvent understanding of how they function in their own as process, and drawing as animation, the personal barriers. Required for junior work. Required of all senior drawing majors concept of the sequential will be explored. Drawing Majors. 3 credits. and open as an elective with the prerequisite of The course will include readings, in-class Illusionism or through permission of instructor discussion and critiques, as well as an or Drawing Program Head. 3 credits. examination of the practices of diverse artists Figure Drawing including William Kentridge, Matthew Ritchie, DRG425 Judith Bernstein, William Anastasi, and Students will develop an individual approach Color, Scale, Mark, and Form MarjaneSatrapi. Assignments will be given that to the figure through relevant historical and DRG441 address various methods of describing time contemporary systems of representation. This ‘Figurative’, ‘abstract’, ‘conceptual’, ‘non- through the medium. This course is open to all course emphasizes on innovative approach objective’, ‘romantic landscape’, and ‘post- majors an is cross-listed with VAT. 3 credits. to drawing using the figure as a vehicle modern’, artworks all have an underlying and primary focus for metaphoric or literal structure. This studio course examines how interpretations, and as a site for conceptual the specificity of color, scale, mark and shape 3-Dimensional Drawing: inquiry. Diverse combinations of traditional and form and affect a painting’s content. Students The Psychology of Space unconventional mediums will be introduced. will be encouraged to focus on their own DRG48X Individual reviews of work in progress and body of work while exploring issues of content Through a theoretical understanding of drawing group critiques are an integral part of the studio within the themes of the class through the as mapping students will be asked to deal with concentration. Museum, gallery excursions, investigation of their own studio practice, as problems of three-dimensionality in relationship and visiting artists are regularly scheduled to well as looking at and analyzing the work of to movement and time through space. Of enlighten student pursuits. 3 credits. other artists throughout history. This course will particular interest will be concerns of mapping, be of particular interest to students in painting, spatial location and relative positioning and drawing, and printmaking. Open to all Majors the ideas fourth dimensionality or the “hidden”. Figure Drawing as Elective. 3 credits. Students will be asked to consider ideas of DRG426 trace, residue, and rhizomatic or non-linear Students will develop an individual approach Prerequisites: Intro to Painting or with the vs. linear progressions. Questions will include: to the figure through relevant historical and permission of the instructor. How does the student navigate both three- contemporary systems of representation. This dimensional and conceptual spaces? How can course emphasizes on innovative approach space be explored, mapped, studied both as a to drawing using the figure as a vehicle Systems Drawing physical location and a spatial event. 3 credits. and primary focus for metaphoric or literal DRG460 interpretations, and as a site for conceptual This course will investigate the means by which inquiry. Diverse combinations of traditional and various systems of drawing and representation Drawing: Internship unconventional mediums will be introduced. function as methods of communication. How DRG499 Individual reviews of work in progress and do historical, cultural and social contexts Elective credit can be given on a case-by- group critiques are an integral part of the studio frame an artist’s ability to send messages case basis for an internship developed by through their work? And, like in a game of student through the career services office, telephone, in any system of communication it with advance permission of instructor and is inevitable that potential problems may occur- head of department. Course Catalog Drawing 115 Course Catalog Enamel 116

Enamel: Advanced Projects Enamel: Advanced Projects Enamel ENA246A ENA247A Advanced students will work independently Advanced students having already taken Three on advanced assignments and research that Dimensional Forms and Enamel will work Enamel: Image, Surface, Relief correspond to the schedule of critiques and independently on advanced assignments and ENA245 demonstrations given to the entire class. Open research that correspond to the schedule of Fused glass (enamel) to metal is the focus of to Enamel majors and electives. critiques and demonstrations given to the entire this course. Drawing and painting skills will class. Open to Enamel majors and electives. transcend graphite, paper, oil and canvas to Pre-requisites: ENA245 Enamel: Image, 3 credits. molten glass on metal. Transparent, opaque, Surface, Relief 3 credits. liquid and dry enamels will be introduced. Prerequisites: ENA347 Enamel: Three- Experimental to traditional processes in the Dimensional Forms with Enamel medium will be covered. Photographic and Enamel: Major Day/Adv Topics digitally produced images are options for ENA246M resists for the acid etching process. The linear This course will focus on advanced and The Printed Image in Enamel aspects of cloisonné will be considered through experimental processes with enamel. ENA248 the fusion of formed silver and copper wires Processes may include but are not limited The focus of this course will be on the use into the enamel surface. Required of Enamel to: torchfiring, electroforming, grissaille, of the printed image with the medium of majors. Open to Electives. Offered fall and plique-a-jour, enameling on silver and gold. enamel. Photographs, photocopies and spring. 3 credits. Advanced students are expected to continue digitally produced and enhanced images their exploration of the medium, focusing will be transferred to the medium through on enamel techniques not covered in the acid etching, silk-screening, decals and Enamel: Advanced Projects beginning course. Students are encouraged to photographic transfers. The emphasis will be ENA245A explore 3-dimensional formats and large-scale on the use of enamel on the two-dimensional This course will focus on advanced and applications at the same time as mastering surface, although those with metal forming experimental processes with enamel. their skills in the processes previously learned. experience may explore three-dimensional Processes may include but are not limited Graduating students are generally working forms in combination with the processes above. to: torchfiring, electroforming, grissaille, independently on research and production Required of Enamel majors. Open to electives. plique-a-jour, enameling on silver and gold. of work for the BFA exhibit. Technical 3 credits. Advanced students are expected to continue demonstrations will be based on the skill their exploration of the medium, focusing level of the students enrolled each semester. on enamel techniques not covered in the Required of Enamel majors. Open to electives. Enamel: Advanced Projects beginning course. Students are encouraged to 3 credits. ENA248A explore 3-dimensional formats and large-scale Advanced students having already taken applications at the same time as mastering Prerequisites: ENA245 Enamel: Image, The Printed Image in Enamel will work their skills in the processes previously learned. Surface, Relief independently on advanced assignments and Graduating students are generally working research that correspond to the schedule of independently on research and production critiques and demonstrations given to the entire of work for the BFA exhibit. Technical Three-Dimensonal class. Open to Enamel majors and electives. demonstrations will be based on the skill Forms in Enamel 3 credits. level of the students enrolled each semester. ENA247 Required of Enamel majors. Open to electives. Advanced students having already taken Three 3 credits. Dimensional Forms and Enamel will work Multiples in Enamel independently on advanced assignments and ENA249 Prerequisites: ENA245 Enamel: Image, research that correspond to the schedule of This course will focus on the use of enamel Surface, Relief critiques and demonstrations given to the entire through the use of multiples: series, limited class. Required of Enamel majors. Open to edition and production. Beginning through electives. 3 credits. advanced level students will explore the medium through these models of studio Prerequisites: ENA347 Enamel: Three- Dimensional Forms with Enamel Course Catalog Enamel 117

production. Processes covered will be those Enamel: Internship demonstrations will be based on the skill level easily adapted to working in multiples and not ENA299 of the students enrolled each semester. exclude any techniques. Required of Enamel Elective credit can be given on a case-by- Required of Enamel majors. Open to electives. majors. Open to electives. 3 credits. case basis for an internship developed by 3 credits. student through the career services office, Prerequisites: ENA245 Enamel: Image, with advance permission of instructor and Prerequisites: ENA245 Enamel: Image, Surface, Relief head of department. Surface, Relief

Enamel: Advanced Projects Enamel: Advanced Projects Enamel: Advanced Projects ENA249A ENA345A ENA346A This course will focus on advanced and This course will focus on advanced and Advanced students having will work experimental processes with enamel. experimental processes with enamel. independently on advanced assignments and Processes may include but are not limited Processes may include but are not limited research that correspond to the schedule of to: torchfiring, electroforming, grissaille, to: torchfiring, electroforming, grissaille, critiques and demonstrations given to the entire plique-a-jour, enameling on silver and gold. plique-a-jour, enameling on silver and gold. class. Open to Enamel majors and electives. Advanced students are expected to continue Advanced students are expected to continue 3 credits. their exploration of the medium, focusing their exploration of the medium, focusing on enamel techniques not covered in the on enamel techniques not covered in the Prerequisites: ENA245 Enamel: Image, beginning course. Students are encouraged to beginning course. Students are encouraged to Surface, Relief explore 3-dimensional formats and large-scale explore 3-dimensional formats and large-scale applications at the same time as mastering applications at the same time as mastering their skills in the processes previously learned. their skills in the processes previously learned. Enamel: Major Day/ Graduating students are generally working Graduating students are generally working Advanced Topics independently on research and production independently on research and production ENA346M of work for the BFA exhibit. Technical of work for the BFA exhibit. Technical This course will focus on advanced processes demonstrations will be based on the skill demonstrations will be based on the skill and concepts within enamel. Processes level of the students enrolled each semester. level of the students enrolled each semester. may include but are not limited to: torch Required of Enamel majors. Open to electives. Required of Enamel majors. Open to electives. firing, electroforming, grisaille, plique-a-jour, 3 credits. 3 credits. enameling on silver and gold. Advanced students will continue their exploration of the Prerequisites: ENA245 Enamel: Image, Prerequisites: ENA245 Enamel: Image, medium, focusing on enamel techniques Surface, Relief Surface, Relief not covered in the beginning course. Three- dimensional formats and large-scale applications will be encouraged. Technical Enamel Public Realm Enamel: Advanced Topics demonstrations will be based on the skill level ENA250 ENA345M of the students enrolled each semester. The use of enamel for public, community This course will focus on advanced and Required of Enamel majors. Open to electives. based, collaborative, or interactive art is the experimental processes with enamel. 3 credits. focus of this course. Demonstrations will Processes may include but are not limited support beginning to advanced level students to: torchfiring, electroforming, grissaille, Prerequisites: ENA245 Enamel: Image, and will vary based on needs to complete plique-a-jour, enameling on silver and gold. Surface, Relief individual projects. The emphasis for beginning Advanced students are expected to continue students will be on the use of enamel on their exploration of the medium, focusing the two-dimensional surface. Students with on enamel techniques not covered in the Enamel: Three-Dimensional metal forming experience may explore three- beginning course. Students are encouraged to Forms with Enamel dimensional forms in combination with enamel. explore 3-dimensional formats and large-scale ENA347 Required of enamel majors. Open to electives. applications at the same time as mastering The emphasis of this course will be applications 3 credits. their skills in the processes previously learned. of enamel on the three-dimensional form. Graduating students are generally working Enamel used in functional, decorative, jewelry independently on research and production or sculptural context may be explored. Metal of work for the BFA exhibit. Technical forming and fabrication techniques that Course Catalog Enamel 118

apply specifically to the use of enamel will be medium through these models of studio Processes may include but are not limited introduced. Beginning enamel skills required production. Processes covered will be those to: torchfiring, electroforming, grissaille, for three-dimensional forms will be covered. easily adapted to working in multiples and plique-a-jour, enameling on silver and gold. Required of Enamel majors. Open to electives. not exclude any techniques. Open to Enamel Advanced students are expected to continue 3 credits. majors and electives. 3 credits. their exploration of the medium, focusing on enamel techniques not covered in the Prerequisites: ENA245 Enamel: Image, beginning course. Students are encouraged to Enamel: Advanced Projects Surface, Relief explore 3-dimensional formats and large-scale ENA347A applications at the same time as mastering Advanced students having already taken Three their skills in the processes previously learned. Dimensional Forms and Enamel will work Enamel: Advanced Projects Graduating students are generally working independently on advanced assignments and ENA349A independently on research and production research that correspond to the schedule of This course will focus on advanced and of work for the BFA exhibit. Technical critiques and demonstrations given to the entire experimental processes with enamel. demonstrations will be based on the skill class. Open to Enamel majors and electives. Processes may include but are not limited level of the students enrolled each semester. 3 credits. to: torchfiring, electroforming, grissaille, Required of enamel majors. Open to electives. plique-a-jour, enameling on silver and gold. 3 credits. Prerequisites: ENA347 Enamel: Three- Advanced students are expected to continue Dimensional Forms with Enamel their exploration of the medium, focusing Prerequisites: ENA245 Enamel: Image, on enamel techniques not covered in the Surface, Relief beginning course. Students are encouraged to The Printed Image in Enamel explore 3-dimensional formats and large-scale ENA348 applications at the same time as mastering Enamel: Advanced Projects The focus of this course will be on the use their skills in the processes previously learned. ENA445A of the printed image with the medium of Graduating students are generally working This course will focus on advanced and enamel. Photographs, photocopies and independently on research and production experimental processes with enamel. digitally produced and enhanced images of work for the BFA exhibit. Technical Processes may include but are not limited will be transferred to the medium through demonstrations will be based on the skill to: torchfiring, electroforming, grissaille, acid etching, silk-screening, decals and level of the students enrolled each semester. plique-a-jour, enameling on silver and gold. photographic transfers. The emphasis will be Required of Enamel majors. Open to electives. Advanced students are expected to continue on the use of enamel on the two-dimensional 3 credits. their exploration of the medium, focusing surface, although those with metal forming on enamel techniques not covered in the experience may explore three-dimensional Prerequisites: ENA245 Enamel: Image, beginning course. Students are encouraged to forms in combination with the processes above. Surface, Relief explore 3-dimensional formats and large-scale Required of Enamel majors. Open to electives. applications at the same time as mastering 3 credits. their skills in the processes previously learned. Enamel Public Realm Graduating students are generally working ENA350 independently on research and production Enamel: Advanced Projects The use of enamel for public, community of work for the BFA exhibit. Technical ENA348A based, collaborative, or interactive art is the demonstrations will be based on the skill Advanced students having already taken focus of this course. Demonstrations will level of the students enrolled each semester. The Printed Image in Enamel will work support beginning to advanced level students Required of enamel majors. Open to electives. independently on advanced assignments and and will vary based on needs to complete 3 credits. research that correspond to the schedule of individual projects. The emphasis for beginning critiques and demonstrations given to the entire students will be on the use of enamel on Prerequisites: ENA245 Enamel: Image, class. Open to Enamel majors and electives. the two-dimensional surface. Students with Surface, Relief 3 credits. metal forming experience may explore three- dimensional forms in combination with enamel. Required of enamel majors. Open to electives. Multiples in Enamel 3 credits. ENA349 This course will focus on the use of enamel Advanced Enamel Process through the use of multiples: series, limited ENA351 edition and production. Beginning through This course will focus on advanced and advanced level students will explore the experimental processes with enamel. Course Catalog Enamel 119

Enamel: Advanced Projects research that correspond to the schedule of Enamel: Advanced Projects ENA446A critiques and demonstrations given to the entire ENA449A Advanced students having will work class. Open to Enamel majors and electives. This course will focus on advanced and independently on advanced assignments and 3 credits. experimental processes with enamel. research that correspond to the schedule of Processes may include but are not limited critiques and demonstrations given to the entire Prerequisites: ENA347 Enamel: Three- to: torchfiring, electroforming, grissaille, class. Open to Enamel majors and electives. Dimensional Forms with Enamel plique-a-jour, enameling on silver and gold. 3 credits. Advanced students are expected to continue their exploration of the medium, focusing Prerequisites: ENA245 Enamel: Image, The Printed Image in Enamel on enamel techniques not covered in the Surface, Relief ENA448 beginning course. Students are encouraged to The focus of this course will be on the use explore 3-dimensional formats and large-scale of the printed image with the medium of applications at the same time as mastering Enamel: BFA Statement enamel. Photographs, photocopies and their skills in the processes previously learned. and Exhibition digitally produced and enhanced images Graduating students are generally working ENA446M will be transferred to the medium through independently on research and production This required course for graduating enamel acid etching, silk-screening, decals and of work for the BFA exhibit. Technical majors focuses on the BFA exhibition, written photographic transfers. The emphasis will be demonstrations will be based on the skill statement and documentation. A mandatory on the use of enamel on the two-dimensional level of the students enrolled each semester. mid-year review in the fall semester supports surface, although those with metal forming Required of enamel majors. Open to electives. the required oral defense during the BFA experience may explore three-dimensional 3 credits. exhibition. The emphasis on studio work will forms in combination with the processes above. be independently driven by each student’s Required of enamel majors. Open to electives. Prerequisites: ENA245 Enamel: Image, direction for the BFA exhibit body of work. 3 credits. Surface, Relief Required of Enamel majors. 3 credits.

Prerequisites: All sophomore, junior and senior Enamel: Advanced Projects Enamel Public Realm level required courses for Enamel majors. ENA448A ENA450 Advanced students having already taken The use of enamel for public, community The Printed Image in Enamel will work based, collaborative, or interactive art is the Enamel: Three Dimensional Forms independently on advanced assignments and focus of this course. Demonstrations will with Enamel research that correspond to the schedule of support beginning to advanced level students ENA447 critiques and demonstrations given to the entire and will vary based on needs to complete The emphasis of this course will be applications class. Open to Enamel majors and electives. individual projects. The emphasis for beginning of enamel on the three-dimensional form. 3 credits. students will be on the use of enamel on Enamel used in functional, decorative, jewelry the two-dimensional surface. Students with or sculptural context may be explored. Metal metal forming experience may explore three- forming and fabrication techniques that Multiples in Enamel dimensional forms in combination with enamel. apply specifically to the use of enamel will be ENA449 Required of enamel majors. Open to electives. introduced. Beginning enamel skills required This course will focus on the use of enamel 3 credits. for three-dimensional forms will be covered. through the use of multiples: series, limited Required of enamel majors. Open to electives. edition and production. Beginning through 3 credits. advanced level students will explore the Advanced Enamel Process medium through these models of studio ENA451 Prerequisites: ENA347 Enamel: Three- production. Processes covered will be those This course will focus on advanced and Dimensional Forms with Enamel easily adapted to working in multiples and not experimental processes with enamel. exclude any techniques. Required of Enamel Processes may include but are not limited majors. Open to electives. 3 credits. to: torchfiring, electroforming, grissaille, Enamel: Advanced Projects plique-a-jour, enameling on silver and gold. ENA447A Prerequisites: ENA245 Enamel: Image, Advanced students are expected to continue Advanced students having already taken Three Surface, Relief their exploration of the medium, focusing Dimensional Forms and Enamel will work on enamel techniques not covered in the independently on advanced assignments and beginning course. Students are encouraged to explore 3-dimensional formats and large-scale applications at the same time as mastering Course Catalog Enamel 120

their skills in the processes previously learned. Graduating students are generally working independently on research and production of work for the BFA exhibit. Technical demonstrations will be based on the skill level of the students enrolled each semester. Required of enamel majors. Open to electives. 3 credits.

Prerequisites: ENA245 Enamel: Image, Surface, Relief

Enamel: Internship ENA499 Elective credit can be given on a case-by- case basis for an internship developed by student through the career services office, with advance permission of instructor and head of department. Course Catalog Enamel 121 Course Catalog Fiber + Material Studies 122

surfaces. Lectures, readings, and critiques will Fiber: Internship Fiber + Material help students understand the historical role of FIB299 the screen-print and how it relates to their own Elective credit can be given on a case-by- Studies work. Open elective. 3 credits. case basis for an internship developed by student through the career services office, with advance permission of instructor and String, Felt, and Thread Fiber: Digital Images, head of department. FIB267 Patterns and Structures This is an introduction to Fiber and Material FIB271 Studies. Students will follow materials from the In this class students will learn to design repeat The Extended Body raw state to the finished form, learning how to patterns and structures for weaving, printing, FIB320 manipulate them at every stage. Material and and other digitally controlled output systems. This class will address the amplification and process are often bound together… so a wide Participants will be introduced to methods expansion of the body into space and the variety of techniques of making form from string, of analog and digital repeat generation while role of the senses in perception. Studio thread and fiber will be covered. Students gaining fluency in ProWeave, and furthering work will begin with a consideration of how will learn to make informed material choices their knowledge of Illustrator and Photoshop. we understand the world though touch, based on an understanding of the history and Arrangements with affiliated institutions sight, smell/taste, the sense of hearing, and associations of each material. Students will will allow students to have their designs kinesthetic perception supplied by muscles be introduced to contemporary criticism, and digitally printed, die-cut, or industrially woven, of the body. Costume, object-generated questions surrounding craft and the history expanding the opportunity for fulfillment of their performance and social sculpture are examples of art. Required 2nd year FMS majors. Open concepts on a scale and complexity previously of the directions taken by students. Media, elective. Offered fall. 3 credits. unrealized. Classroom discussion will examine processes and techniques are open and will be the impact of historical, cultural, industrial, and based on individual interests, knowledge and contemporary factors on pattern design. No skill sets. Open elective. Required for junior Fiber: Sewing and Prerequisites. Open elective. Required for FMS year FMS majors. 3 credits. Fabrication Processes majors, year is not prescribed. Offered spring FIB268 only. 3 credits. The course will center on the problem of Fiber: Silkscreen using a two dimensional flexible plane to FIB369 build a three-dimensional form. The class will Weaving Patterns: Students will investigate surface, mark, emphasize skills in machine sewing, using both Collective Activity and materiality from both a technical and domestic and specialized industrial machines FIB275 conceptual point of view. The silkscreen can and proceed to other fabrication methods. The Students will learn to weave and explore the accept a wide variety of printing substances course will include the basic pattern making possibilities of the process on traditional floor (pigments, dyes, mud, talc, honey, etcetera…), skills required to construct the skin of a three- looms (floor, tapestry, Computer-assisted and can be applied to an equally diverse range dimensional object. These processes are Dobby) and alternative weaving devices of surfaces. Lectures, readings, and critiques relevant to garment making, however this class (constructed from found objects or using will help students understand the historical role is structured to apply these skills to a wider architectural influences). Technical vocabulary of the screen-print and how it relates to their range of fabricated objects. The materials used and conceptual focus will be developed own work. Open elective. 3 credits. are central to the meaning of the work and the through an investigation of process, material, class will include an investigation of the formal tools and the many and varied histories and physical potentials of materials and will of weaving. The intersection between Fiber: Digital Images, Patterns, consider the metaphoric, symbolic and cultural weaving and collaboration will be explored in and Structures information carried by those materials. discussions on the development of pattern/ FIB371 Offered fall. 3 credits. structure as a form of communication; looms In this class students will learn to design repeat built in situ; implication of globalization on patterns and structures for weaving, printing, craft production; traditional and contemporary and other digitally controlled output systems. Fiber: Silkscreen practice of gifting; and social participation. Participants will be introduced to methods FIB269 Required for sophomore FMS majors. of analog and digital repeat generation while Students will investigate surface, mark, Open elective. 3 credits. gaining fluency in ProWeave, and furthering and materiality from both a technical and their knowledge of Illustrator and Photoshop. conceptual point of view. The silkscreen can Arrangements with affiliated institutions accept a wide variety of printing substances will allow students to have their designs (pigments, dyes, mud, talc, honey, etc.), and digitally printed, die-cut, or industrially woven, can be applied to an equally diverse range of expanding the opportunity for fulfillment of their Course Catalog Fiber + Material Studies 123

concepts on a scale and complexity previously Fiber: Internship concepts on a scale and complexity previously unrealized. Classroom discussion will examine FIB399 unrealized. Classroom discussion will examine the impact of historical, cultural, industrial, and Elective credit can be given on a case-by- the impact of historical, cultural, industrial, and contemporary factors on pattern design. case basis for an internship developed by contemporary factors on pattern design. No Prerequisites. Open elective. Required for student through the career services office, No Prerequisites. Open elective. Required for FMS majors, year is not prescribed. Offered with advance permission of instructor and FMS majors, year is not prescribed. Offered spring only. 3 credits. head of department. spring only. 3 credits.

Fiber: Advanced Studio: Topics The Extended Body Fiber: Advanced Studio: Topics in Contemporary Art/Culture FIB420 in Contemporary Art/Culture FIB376.3 This class will address the amplification and FIB476 Individually directed studio problems for juniors expansion of the body into space and the Individually directed studio problems for juniors and seniors. This class is a combination of role of the senses in perception. Studio and seniors. This class is a combination of studio work, critique, research and discussion. work will begin with a consideration of how studio work, critique, research and discussion. Discussion topics will be selected based on we understand the world though touch, Discussion topics will be selected based on both the direction of student studio work sight, smell/taste, the sense of hearing, and both the direction of student studio work and relevant issues in contemporary art and kinesthetic perception supplied by muscles and relevant issues in contemporary art and culture. Because an inter-disciplinary practice of the body. Costume, object-generated culture. Because an inter-disciplinary practice is a central to the identity of Fiber and Material performance and social sculpture are examples is a central to the identity of Fiber and Material Studies, research will include both discipline of the directions taken by students. Media, Studies, research will include both discipline specific history and the role of the discipline processes and techniques are open and will be specific history and the role of the discipline in creating relationships between disciplines. based on individual interests, knowledge and in creating relationships between disciplines. These discussions will directly influence critique skill sets. Open elective. Required for junior These discussions will directly influence critique of concurrent studio work. For juniors, the year FMS majors. 3 credits. of concurrent studio work. For juniors, the emphasis will be on shifting from assignment emphasis will be on shifting from assignment based to self-directed work. seniors will be based to self-directed work. seniors will be working towards their BFA exhibition. Open Fiber: Silkscreen working towards their BFA exhibition. Open elective, limited to juniors and seniors. Required FIB469 elective, limited to juniors and seniors. Required for junior and senior FMS majors. 3 credits. Students will investigate surface, mark, for junior and senior FMS majors. 3 credits. and materiality from both a technical and conceptual point of view. The silkscreen can Material Matters accept a wide variety of printing substances Material Matters FIB377 (pigments, dyes, mud, talc, honey, etcetera…), FI B 477.3 This is an advanced level studio class, which and can be applied to an equally diverse range This is an advanced level studio class, which will offer the student a more sophisticated of surfaces. Lectures, readings, and critiques will offer the student a more sophisticated understanding of the inter-relationship between will help students understand the historical role understanding of the inter-relationship between material, process and idea. The cultural and of the screen-print and how it relates to their material, process and idea. The cultural and historic references of materials and processes own work. Open elective. 3 credits. historic references of materials and processes play a powerful role in communication. To play a powerful role in communication. To further that investigation and use it to support further that investigation and use it to support work, lectures and discussions will ask Fiber: Digital Images, Patterns, work, lectures and discussions will ask questions about the definitions and norms of and Structures questions about the definitions and norms of the European/Mainstream art system. Topics FIB471 the European/Mainstream art system. Topics will include, for example, the place of art within In this class students will learn to design repeat will include, for example, the place of art within the gallery system and the role of art in ‘non/ patterns and structures for weaving, printing, the gallery system and the role of art in ‘non/ European’ cultures; the relationship between and other digitally controlled output systems. European’ cultures; the relationship between Art and the Everyday; the relationship between Participants will be introduced to methods Art and the Everyday; the relationship between Realization and Representation; and the role of analog and digital repeat generation while Realization and Representation; and the role of Social Participation in an art practice. Other gaining fluency in ProWeave, and furthering of Social Participation in an art practice. Other topics will be guided by the work being done their knowledge of Illustrator and Photoshop. topics will be guided by the work being done by the students enrolled in the class. Open Arrangements with affiliated institutions by the students enrolled in the class. Open elective, limited to juniors and seniors. Required will allow students to have their designs elective, limited to juniors and seniors. Required for FMS seniors. 3 credits. digitally printed, die-cut, or industrially woven, for FMS seniors. 3 credits. expanding the opportunity for fulfillment of their Course Catalog Fiber + Material Studies 124

Fiber: Internship FIB499 Elective credit can be given on a case-by- case basis for an internship developed by student through the career services office, with advance permission of instructor and head of department. Course Catalog Fiber + Material Studies 125 Course Catalog Foundation 126

Course structure consists of introductory Design II Foundation concept lectures, technical instruction, lab time FND108 with guidance and group critique of finished This course builds on the experiences of Design assignments. Pre-requisites: FND103D Digital 1, with compositional and conceptual problems Digital Color Color. Offered spring. 3 credits. being explored fully in three dimensions FND103D in. Form, mass, volume, spatial interactions, This one-half semester course introduces Prerequisites: FND103D Digital Color material qualities, and physical forces are key color in additive synthesis (light). The course factors. Students continue to learn to perceive explores color theory, perception, and and control visual relationships within the application, through a series of fundamental Design I design structures they make. The aesthetic color investigations offering opportunities FND107 and conceptual potential of materials and for multiple compositional solutions and the In this fundamental visual composition processes (craft) are also vital aspects of this development of digital skills. In tandem with course, students learn the primary elements studio course. Creative processes of problem its companion course, Foundation Material and principles of visual language, and are solving through research, investigation and Color, students pursue a personal color introduced to a range of formal and conceptual ideation, together with an attitude of discovery, sensibility, in preparation for any art or design problems which become increasingly complex are required for all concept and project field. Course structure consists of introductory as the course progresses. Students are explorations. Ideational drawing, model making, concept lectures, technical instruction, lab time challenged to explore core design principles of material studies, and prototypes contribute to with guidance and group critique of finished visual organization in unique and challenging developing ideas to a high and thoughtful level. assignments. Offered fall. 1.5 credits. ways, and to gain the ability to problem-solve Various methods and approaches to giving through ideation processes, group dialogue, form (such as additive, subtractive, assemblage perceptual refinement and skill management. and joinery) are challenges for every concept Material Color Developing analytical skills and the ability to explored. Design 2 projects have the potential FND103M effectively engage in an on-going process to be explored as sculpture, functional design, This one-half semester course introduces of critique are also core components of the or even as hybrid. Students are challenged to color in subtractive synthesis (pigment). This course. Design1 involves the planning and follow their passions and gain experience in course explores color theory, perception, organization of the parts within a whole, self- directing project outcomes. Pre-requisites: and application, through a series of three through a sense of experimentation, risk FND107 Design I. Offered spring. 3 credits. fundamental color investigations offering taking and discovery. This course focuses opportunities for multiple compositional primarily on two-dimensional forms but also Prerequisites: FND107 Design I solutions and the development of material gradually introduces three-dimensional forms. skills. In tandem with its companion course, Material exploration and the development of Digital Color, students pursue a personal color strong manual skills in regard to visual acuity Drawing I sensibility, in preparation for any art or design and craft sensitivity are a key aspect of every FND117 field. Course structure consists of introductory assignment. Knowledge and skills gained in Primary goals of Drawing 1 focus on core concept lectures, technical instruction, studio concurrent Foundation program areas such as drawing concepts; basic methods, tools and time with guidance, and group critique of color, drawing and digital skills are fundamental materials; and an introduction into the language finished assignments. Offered fall. 1.5 credits. for communicating ideas and are reinforced in of mark making. Composition and visual Design 1. Offered fall. 3 credits. analysis are emphasized through drawing from observation, including perspective theories Digital Synthesis Prerequisites: None. as they relate to objects and environments. FND104 FND107L Design Lab should be taken Students utilize observational information Explores crucial and far-reaching concepts concurrently with Design 1. to develop a broad range of manual and associated with digital art and technology as perceptual skills and to develop an ability to these concepts interface with foundational translate the three-dimensional world into concepts of aesthetics and visual Design Lab two dimensions. Students are challenged to communications. Digital synthesis explores: FND107L develop a strong drawing practice through the assembly and creation of imagery from Design Lab class introduces woodshop safety in-class work, out of class assignments, and in different source materials; time-based images and basic skills in machinery use. Students on-going drawing/sketch books. Offered fall. using various approaches to animation; the learn the fundamental characteristics of 3 credits. structure and logic of narrative storytelling wood as a versatile medium, as well as with digital video; and the structure and logic appropriate construction methods for particular of interactivity through the creation of work applications. Offered fall and spring. 0 credits. where the structure, sequence and outcome is influenced by the participation of the viewer. Course Catalog Foundation 127

Drawing II skill sets taught in other Foundation classes. FND118 Each student’s effort, progress, and work will Drawing 2 continues to build on basic drawing contribute to a collaborative project developed concepts, methods, and materials that were over 7 weeks, to include both a charette introduced in the previous semester. Emphasis documentation log as well as a collaborative 2D, for Drawing 2 is on the human figure, with 3D, or 4D form. Offered fall. 1.5 credits. observational drawing from the live model in the classroom, and weekly out-of-class drawing assignments which explore various Charette: Self and Other Voices figurative concepts. Special attention is given FND140B to composition, visual analysis, and expression This one-half semester course is framed by through drawing from observation, including the theme of Self and other Voices. As an perspective theories as they relate to objects exploration of one’s self in relation to culture and environments. The language of mark and society, the course facilitates increased making is also introduced in a range of drawing self-knowledge and helps students uncover media. Students develop a personal approach their views of “other.” The students and through the use of drawing/sketchbooks. instructor work collaboratively to define and Students are challenged to incorporate skills explore “other voices,” cultivate connections and theories into resolved drawings; to think with those other voices, and develop creative critically regarding the content and process responses. Through sustained exploration of of drawing; to develop confidence when one theme, the Charette gives priority to the experimenting with new media; and to develop development of skills for critical and creative vocabulary in order to be an active, informed thinking, experiential learning, problem- participant in class discussions and critiques. solving, and collaboration. Through materials Pre-requisites: FND117 Drawing I. Offered exploration, making processes, and critique, spring. 3 credits. the Charette forges links with the visual, tactile, and manual skill sets being taught in other Prerequisites: FND117 Drawing I Foundation classes. Each student’s effort, progress, and work will contribute to a project developed over 7 weeks, to include both a Freshmen Environmental Elective charette documentation log and a 2D, 3D, and/ FND130 or 4D form. Offered fall. 1.5 credits. Offers freshmen the opportunity to explore major offerings within an environment of interest. Offered spring. 3 credits.

Charette: Collaboration and Community FND140A This one-half semester course is framed by the theme of Community and Collaboration. The students and instructor work collaboratively to define and explore “community” as local place and learning environment. They identify and activate connections among charette members and their specified community in order to develop a consensual creative response. Through sustained exploration of one theme, the Charette emphasizes the development of skills for critical and creative thinking, experiential learning, problem-solving, and collaboration. Through materials exploration, making processes, and critique, the Charette forges links with the visual, tactile and manual Course Catalog Film, Video and Photographic Arts 128

can market/promote themselves within them. Photography: Film, Video and Students will learn how to carry out and meet Alternative Processes the expectations of art directors and photo FVPA291 Photographic editors while providing creative input of their This course investigates the historical own. Emphasis is placed on networking, processes, contemporary practices, and Arts negotiating and understanding contracts as concepts students within alternative well as building a professional portfolio. Field photographic image making, through the trips will be taken to local publishing companies use of non-silver techniques, hand-applied Contemp Color Photograph: and commercial photography studios. emulsions and digital processes. Process and Digital and Film Assignments are designed to simulate practical techniques covered in this course will include FVPA225 work experiences. Open elective. 3 credits. Cyanotype, Van Dyke Brown, Gum-Bichromate, This course is designed to investigate the Platinum-Palladium, Liquid Emulsion, toning contemporary applications of color in Prerequisites: FVPA295 Mechanics of options, as well as digital negatives and pinhole photography while developing a working Digital and Film Photography, or FVPA292 photography. There will also be course discuss knowledge of color theory in relationship to Fundamentals of Studio lighting or covering environmental issues pertaining to the photographic practice. The course includes instructor signature. use photographic chemistry and materials. This a wide range of color-based practices and course is an Open Elective course for any major. techniques as well an exploration of subtractive 3 credits. and additive color as they pertain to digital Intro to Photojournalism and chemical photographic processes. Studio FVPA235 Prerequisites: Digital Imaging I, and Mechanics lighting and the interaction between light, This is an introductory-level photography of Digital and Darkroom Photography, or written pigmentation, and photographic materials, course, open to all majors, and available approval of Instructor will also be covered. This course will be of for sophomore elective credit. This course special interest to illustration, drawing and investigates photojournalism’s history painting students. This is a required course for and significance in contemporary culture. Fundamentals of Studio Lighting Photography majors. 3 credits. Concepts covered include vocabulary and FVPA292 components of visual expression, avenues for This course is designed to cover the dissemination, and issues of communication underpinnings of Contemporary Fine Art, The Contemporary Portrait through publication. Investigation techniques Commercial Photography Studio, and FVPA228 and editorial practices are explored. An Commercial Video Studio Lighting Equipment This course is an exploration of contemporary introduction to photographic techniques, tools, and Techniques. Demonstrations of equipment approaches to portraiture and its’ relation to the and processes is included in the course work. and processes, lectures and critiques are part historical photographic portrait. Analysis of both 3 credits. of the daily course work. Supervising faculty simple and complex photographic identities provide a balance of assignments, lectures, and real and invented realities are investigated. critiques, visiting artist lectures, workshops Photographic assignments, readings and The Fine Art Silver Print and demonstrations. Students have access to discussions lead to a better understanding of FVPA270 the Photography Department’s Lighting Studio, the student’s individual approach to the portrait This is an advanced level black and white silver and Digital Imaging Lab. Materials required and their unique relationship with the subject. printing class. We will investigate advanced are based on processes pertaining to projects. Students are expected to keep a portrait archival printing techniques, fine art printing Projects include: Technical and conceptual journal and to produce a portfolio of finished papers, advanced film exposure techniques, skills, and problem solving for tabletop, product, prints. Open elective. 3 credits. developer combinations and toning procedures and large-scale studio photography. This is a to produce full tonal range darkroom prints. required course for Photography majors. Prerequisites: FVPA295 Mechanics of Medium and large format cameras will be 3 credits. Digital and Film Photography or FVPA292 demonstrated and utilized. Projects for this Fundamentals of Studio lighting or instructor class include an in-depth self-assignment signature. finalized in a portfolio of prints. We will also The Mechanics of Digital view master fine art prints at local galleries, and Film Photography museums and collections. Required of FVPA295 Publication Photography sophomore Photography majors. Open elective. This class will cover the fundamentals of film FVPA229 3 credits. and digital 35mm SLR cameras, exposure This course prepares students for careers as ratio as well as black and white film processing, photographers in the advertising and magazine Prerequisites: FVPA 295 The Mechanics silver printing and basic digital printing fields. Students will learn the inner workings of Digital and Film Photography or techniques. Lectures address black and white of those industries and determine how they instructor signature. darkroom processes, digital storage, output, Course Catalog Film, Video and Photographic Arts 129

resolution, and file size for various applications special interest to illustration, drawing and Visual Thinking in as well as digital workflow. Introductory lighting painting students. This is a required course for Contemporary Photography tools and documentation of artwork for use in Photography majors. 3 credits. FVPA330 professional applications are covered. Required In this course, photographic theories, modes of sophomore Photography majors. and structures will be examined through the Open elective. 3 credits. The Contemporary Portrait issues of narrative and aesthetics. Students will FVPA328 examine contemporary practices, which have This course is an exploration of contemporary emerged with respect toward photography, Photography: Internship approaches to portraiture and its’ relation to the and hybrid digital media that transmute FVPA299 historical photographic portrait. Analysis of both photographic theories, concepts, forms, and Elective credit can be given on a case-by- simple and complex photographic identities processes. The course will investigate the case basis for an internship developed by and real and invented realities are investigated. ways in which photography continues to affect student through the career services office, Photographic assignments, readings and (visual) culture and the way one perceives with advance permission of instructor and discussions lead to a better understanding of and understands. The work of selected head of department. the student’s individual approach to the portrait photographers will provide a framework for and their unique relationship with the subject. comparing photographic philosophies. Students are expected to keep a portrait Required of Photo majors and open elective. Digital Photo Imaging I journal and to produce a portfolio of finished 3 credits. FVPA301 prints. Open elective. 3 credits. This course is an introduction to the technical and aesthetic fundamentals of Prerequisites: FVPA295 Mechanics of The Fine Art Silver Print digital photographic imaging. This studio Digital and Film Photography or FVPA292 FVPA370 course is designed for students interested Fundamentals of Studio lighting or This is an advanced level black and white silver in working with digital imagery for various instructor signature. printing class. We will investigate advanced applications. Students use the computer to archival printing techniques, fine art printing modify, manipulate, and enhance photographic papers, advanced film exposure techniques, images. Emphasis is placed on consideration Publication Photography developer combinations and toning procedures of the hardware and software tools required FVPA329 to produce full tonal range darkroom prints. for successfully capturing, manipulating, This course prepares students for careers as Medium and large format cameras will be and exporting images, as well as on an photographers in the advertising and magazine demonstrated and utilized. Projects for this understanding of the technical issues involved fields. Students will learn the inner workings class include an in-depth self-assignment in each step of the production process. of those industries and determine how they finalized in a portfolio of prints. We will also Digital Photo Imaging I is required for can market/promote themselves within them. view master fine art prints at local galleries, Photography, Graphic Design, and Illustration. It Students will learn how to carry out and meet museums and collections. Required of is available as an open elective in all majors for the expectations of art directors and photo sophomore Photography majors. Open elective. fine art studio credit. 3 credits. editors while providing creative input of their 3 credits. own. Emphasis is placed on networking, negotiating and understanding contracts as Prerequisites: FVPA 295 The Mechanics Contemporary Color Photograph: well as building a professional portfolio. Field of Digital and Film Photography or Digital and Film trips will be taken to local publishing companies instructor signature. FVPA325 and commercial photography studios. This course is designed to investigate the Assignments are designed to simulate practical contemporary applications of color in work experiences. Open elective. 3 credits. Photography: photography while developing a working Alternative Processes knowledge of color theory in relationship to Prerequisites: FVPA295 Mechanics of FVPA391 photographic practice. The course includes Digital and Film Photography, or FVPA292 This course investigates the historical a wide range of color-based practices and Fundamentals of Studio lighting or processes, contemporary practices, and techniques as well an exploration of subtractive instructor signature. concepts students within alternative and additive color as they pertain to digital photographic image making, through the and chemical photographic processes. Studio use of non-silver techniques, hand-applied lighting and the interaction between light, emulsions and digital processes. Process and pigmentation, and photographic materials, techniques covered in this course will include will also be covered. This course will be of Cyanotype, Van Dyke Brown, Gum-Bichromate, Platinum-Palladium, Liquid Emulsion, toning options, as well as digital negatives and pinhole Course Catalog Film, Video and Photographic Arts 130

photography. There will also be course discuss Photography: Internship of those industries and determine how they covering environmental issues pertaining to the FVPA399 can market/promote themselves within them. use photographic chemistry and materials. This Elective credit can be given on a case-by- Students will learn how to carry out and meet course is an open elective course for any major. case basis for an internship developed by the expectations of art directors and photo 3 credits. student through the career services office, editors while providing creative input of their with advance permission of instructor and own. Emphasis is placed on networking, Prerequisites: Digital Imaging I, and Mechanics head of department. negotiating and understanding contracts as of Digital and Darkroom Photography, or written well as building a professional portfolio. Field approval of instructor trips will be taken to local publishing companies Contemporary Color Photograph: and commercial photography studios. Digital and Film Assignments are designed to simulate practical Fundamentals of Studio Lighting FVPA425 work experiences. Open elective. 3 credits. FVPA392 This course is designed to investigate the This course is designed to cover the contemporary applications of color in Prerequisites: FVPA295 Mechanics of underpinnings of Contemporary Fine Art, photography while developing a working Digital and Film Photography, or FVPA292 Commercial Photography Studio, and knowledge of color theory in relationship to Fundamentals of Studio lighting or instructor Commercial Video Studio Lighting Equipment photographic practice. The course includes signature. and Techniques. Demonstrations of equipment a wide range of color-based practices and and processes, lectures and critiques are part techniques as well an exploration of subtractive of the daily course work. Supervising faculty and additive color as they pertain to digital Video Basic Tools I provide a balance of assignments, lectures, and chemical photographic processes. Studio FVPA461 critiques, visiting artist lectures, workshops lighting and the interaction between light, Video Basic Tools is a required class for and demonstrations. Students have access to pigmentation, and photographic materials, Photography and TIME-Digital Arts. It is also the Photography Department’s Lighting Studio, will also be covered. This course will be of an open elective class for fine art credit in and Digital Imaging Lab. Materials required special interest to illustration, drawing and all majors and for second year foundation are based on processes pertaining to projects. painting students. This is a required course for students. Using the tools of video, computer Projects include: Technical and conceptual Photography majors. 3 credits. graphics, audio and other electronic media, this skills, and problem solving for tabletop, product, course focuses on the design elements and and large-scale studio photography. This is a thought processes inherent in effective audio/ required course for Photography majors. The Contemporary Portrait visual communications. Hands-on approach 3 credits. FVPA428 features work in videography, lighting, audio This course is an exploration of contemporary production and mixing, and video editing, as approaches to portraiture and its’ relation to the well as support activities such as scripting, Large Format: Digital and Film historical photographic portrait. Analysis of both research, brainstorming and storyboarding. FVPA393 simple and complex photographic identities Emphasis is placed on creative thinking and This advanced studio course is designed and real and invented realities are investigated. problem solving, with both group and individual to further the students’ investigation of Photographic assignments, readings and projects required. This course is intended to large format photography in digital and discussions lead to a better understanding of be an introduction to a very broad area, rather chemical processes. Examples of artists the student’s individual approach to the portrait than an in-depth concentration in one subject. and professionals artwork will shown in and their unique relationship with the subject. An external Firewire drive is required for this class lectures to illustrate application of this Students are expected to keep a portrait class. Required of FVPA and TIME-Digital knowledge and these creative skills evidenced journal and to produce a portfolio of finished Arts majors. Electives accepted, including in practice historically and in a contemporary prints. Open elective. 3 credits. sophomores. 3 credits. context. This course is requirement for Photography majors and an open elective for all Prerequisites: FVPA295 Mechanics of other majors. 3 credits. Digital and Film Photography or FVPA292 The Fine Art Silver Print Fundamentals of Studio lighting or instructor FVPA470 Prerequisites: FVPA295 The Mechanics of signature. This is an advanced level black and white silver Digital and Film Photography and printing class. We will investigate advanced FVPA301 Digital Imaging I archival printing techniques, fine art printing Publication Photography papers, advanced film exposure techniques, FVPA429 developer combinations and toning procedures This course prepares students for careers as to produce full tonal range darkroom prints. photographers in the advertising and magazine Medium and large format cameras will be fields. Students will learn the inner workings demonstrated and utilized. Projects for this Course Catalog Film, Video and Photographic Arts 131

class include an in-depth self-assignment skills, and problem solving for tabletop, product, upon skills already learn in Video Basics. Video finalized in a portfolio of prints. We will also and large-scale studio photography. This is a II is a required course for all Video Majors. view master fine art prints at local galleries, required course for Photography majors. Required materials: An external hard drive, a museums and collections. Required of 3 credits. set of eadphones and a notebook. 3 credits. sophomore Photography majors. Open elective. 3 credits. Large Format: Digital and Film Prerequisites: Video Basics 1 or permission FVPA493 of the faculty. Prerequisites: FVPA 295 The Mechanics of This advanced studio course is designed Digital and Film Photography or instructor to further the students’ investigation of signature. large format photography in digital and Photography: Internship chemical processes. Examples of artists FVPA499 and professionals artwork will shown in Elective credit can be given on a case-by- Photography: class lectures to illustrate application of this case basis for an internship developed by Alternative Processes knowledge and these creative skills evidenced student through the career services office, FVPA491 in practice historically and in a contemporary with advance permission of instructor and This course investigates the historical context. This course is requirement for head of department. processes, contemporary practices, and Photography Majors and an Open Elective concepts students within alternative for all other majors. 3 credits. photographic image making, through the use of non-silver techniques, hand-applied Prerequisites: FVPA295 Mechanics of emulsions and digital processes. Process and Photography: Digital and Darkroom, and Fine techniques covered in this course will include Art Printing: Digital and Chemical Cyanotype, Van Dyke Brown, Gum-Bichromate, Platinum-Palladium, Liquid Emulsion, toning options, as well as digital negatives and pinhole Photography: BFA Thesis photography. There will also be course discuss and Research covering environmental issues pertaining to the FVPA495M use photographic chemistry and materials. This This course provides a framework for course is an open elective course for any major. comparing photographic philosophies. 3 credits. Students develop critical and theoretical skills in photography by examining historical and Prerequisites: Digital Imaging I, and Mechanics contemporary practices with respect to image, of Digital and Darkroom Photography, or written concept, form, and process. These ideas are approval of instructor investigated through critical readings, writings, discussions and verbal presentations. Offered fall. 3 credits. Fundamentals of Studio Lighting FVPA492 This course is designed to cover the Video II underpinnings of Contemporary Fine Art, FVPA497 Commercial Photography Studio, and Video II is an advanced studio elective, fulfilling Commercial Video Studio Lighting Equipment the needs of students who have successfully and Techniques. Demonstrations of equipment completed Video I coursework. This class is and processes, lectures and critiques are part geared for all disciplines and is designed for of the daily course work. Supervising faculty students who wish to further explore the use of provide a balance of assignments, lectures, audio-video media and motion graphics. This critiques, visiting artist lectures, workshops course will concentrate on editing techniques, and demonstrations. Students have access to compositing, and the narrative style of video. the Photography Department’s Lighting Studio, Initial assignments are given to assess and Digital Imaging Lab. Materials required individual and group technical skills and initiate are based on processes pertaining to projects. creative conceptualizing and problem solving. Projects include: Technical and conceptual This often creates potentials for collaboration, interaction and idea exchange that develop within each class. Four projects are given each semester. All projects are designed to expand Course Catalog Glass 132

in/as sculpture. Safety in the studio. Enrollment Glass: Introductio to Warm Glass Glass priority to beginners in Glass. Required of and Fusion Processes incoming 2nd year Glass majors. No previous GLS243W experience necessary, course fee required. Introduction to Glass Fusing, Slumping, Enamel Advanced Glass May be repeated. 3 credits. and Casting. In this class, we will explore Concepts: Casting lots of possibilities in glass through kiln work. GLS240 Throughout the semester, students will design This course aims at advancing students’ Glass: Introduction to Hot Glass and create 2D or 3D objects. Students will knowledge and techniques in creative and GLS243H learn how to use the oven environment to intellectual ways as well as fostering new In this class you will learn the fundamentals simple mold systems. Physics of glass as it conceptual schemes. Students will be of blowing working in the hot glass studio. relates to Expansion and fitting of dissimilar introduced to such methods as sand casting, Emphasis will be placed on practice, to build glasses. Kiln environments include exercise Pate-de-verre, cold working and kiln casting familiarity and skill working in this magically in determining annealing schedules. Safety in in the course of pursuing their sculptural goals. engaging material. We will use simple forms to all procedures require all to wear a dust mask In the meantime, students will also practice build confidence and basic skills while using or a respirator and eye protection every time applying problem-solving skills to making art. a team approach to glass blowing. Simple working with plaster or any other equipment in By the end of this course, students will have color application and experimentation will be the glass studio. Course fee required, open to a thorough knowledge and understanding part of coursework. Also, fundamental work all students. Course fee required. of general kiln forming and acquire more in cold glass techniques, grinding, cutting Fall and spring semesters. 3 credits. advanced casting techniques. Ultimately, with and polishing, and sand carving. Safety this technical basis, the course will inspire emphasized in all procedures. Lab fee required. students to shape and realize an individual Students will be required to provide and Glass Major Day visual voice. Hot glass will be possibly use simple safety glasses and other safety GLS244M conducted as complement. Open to all equipment. Open to all students, may be Required of all Glass majors. Assignments students with one semester of glass. repeated. Course fee required. will be given at 200 and 300, Independently Course fee required. 3 credits. Offered fall and spring. 3 credits. guided study at 400 level. Research in developing concepts using glass as a medium Prerequisites: One semester of glass. for expression, includes work on production Glass: Major Day practices, one of a kind vessel making to the GLS243M use of glass to complete sculptural ideas. Advanced Glass Concepts: Required of all Glass majors. Assignments Assignments will build individual students Hot Sculpting will be given at 200 and 300, Independently voice. Team approach emphasized in hot GLS242 guided study at 400 level. Research in shop, building on and from basic working With emphasis on Hot Sculpting and students developing concepts using glass as a medium fundamentals. Beginning and advanced own voice and concepts using glass as for expression, includes work on production practice in alternative methods for forming a media for expression will be developed. practices, one of a kind vessel making to the include casting, mold construction, cold joining, Advancing skills in alternative methods for use of glass to complete sculptural ideas. and cold glass techniques. Students will be forming. Techniques is a goal. General studio Assignments will build individual students involved with practical experience in applying operation. Safety in the studio. Enrollment voice. Team approach emphasized in hot to shows and exhibiting works. Majors are priority to intermediate, advanced electives and shop, building on and from basic working learn and are assigned responsibilities in studio majors first. Assignments given at an advanced fundamentals. Beginning and advanced operation. Safety in the studio. Enrollment prerequisite, one semester of hot glass. May be practice in alternative methods for forming priority to Glass majors, advanced electives repeated. Course fee required. 3 credits. include casting, mold construction, cold joining, with one semester of hot glass. and cold glass techniques. Students will be Course fee required. 3 credits. Prerequisites: One semester of hot glass. involved with practical experience in applying to shows and exhibiting works. Majors learn and Prerequisites: One semester of hot glass. are assigned responsibilities in studio operation. Glass: Glass Forming Survey: Safety in the studio. Enrollment priority to Glass An Introduction majors, advanced electives with one semester Advanced Glass GLS243 of hot glass. Course fee required. 3 credits. Concepts: Casting Introduction to fundamental techniques of GLS340 glass working: blowing vessels based on the Prerequisites: One semester of hot glass. This course aims at advancing students’ sphere; fusion/casting and annealing theory. knowledge and techniques in creative and Cutting, grinding, polishing, and general cold intellectual ways as well as fostering new fabrication. Concepts and ideas for using glass conceptual schemes. Students will be Course Catalog Glass 133

introduced to such methods as sand casting, Glass: Concept, developing concepts using glass as a medium Pate-de-verre, cold working and kiln casting Theory, and Practice for expression, includes work on production in the course of pursuing their sculptural goals. GLS343A practices, one of a kind vessel making to the In the meantime, students will also practice Assignments given at all levels 300 use of glass to complete sculptural ideas. applying problem-solving skills to making art. Independent projects at 400. Includes research Assignments will build individual students By the end of this course, students will have and development of concepts using glass as a voice. Team approach emphasized in hot a thorough knowledge and understanding media for expression. Practice in advanced hot shop, building on and from basic working of general kiln forming and acquire more glass working further building on fundamentals fundamentals. Beginning and advanced advanced casting techniques. Ultimately, with of blowing off-hand to more advanced practice in alternative methods for forming this technical basis, the course will inspire techniques surface decoration of vessels and include casting, mold construction, cold joining, students to shape and realize an individual use of hot glass for sculptural ideas. Advanced and cold glass techniques. Students will be visual voice. Hot glass will be possibly methods for forming, may include hot casting, involved with practical experience in applying conducted as complement. Open to all mold blowing, using multiples; cold joining to shows and exhibiting works. Majors are students with one semester of Glass. using special adhesives; and cold glass, cutting learn and are assigned responsibilities in studio Course fee required. 3 credits. grinding and finishing techniques. Emphasis on operation. Safety in the studio. Enrollment hot glass. Safety and General studio operation. priority to Glass majors, advanced electives Prerequisites: One semester of glass. For Glass majors and advanced electives. with one semester of hot glass. Course fee required. May be repeated. Course fee required. 3 credits. 3 credits. Advanced Glass Concepts: Prerequisites: One semester of hot glass. Hot Sculpting Prerequisites: One semester of hot glass. GLS342 With emphasis on Hot Sculpting and students Glass: Internship own voice and concepts using glass as Glass: Major Day GLS399 a media for expression will be developed. GLS343M Elective credit can be given on a case-by- Advancing skills in alternative methods for Required of all Glass majors. Assignments case basis for an internship developed by forming. Techniques is a goal. General studio will be given at 200 and 300, Independently student through the career services office, operation. Safety in the studio. Enrollment guided study at 400 level. Research in with advance permission of instructor and priority to intermediate, advanced electives and developing concepts using glass as a medium head of department. majors first. Assignments given at an advanced for expression, includes work on production prerequisite, one semester of hot glass. May be practices, one of a kind vessel making to the repeated. Course fee required. 3 credits. use of glass to complete sculptural ideas. Advanced Glass Assignments will build individual students Concepts: Casting Prerequisites: One semester of hot glass. voice. Team approach emphasized in hot GLS440 shop, building on and from basic working This course aims at advancing students’ fundamentals. Beginning and advanced knowledge and techniques in creative and Glass: Concept, practice in alternative methods for forming intellectual ways as well as fostering new Theory, and Practice include casting, mold construction, cold joining, conceptual schemes. Students will be GLS343 and cold glass techniques. Students will be introduced to such methods as sand casting, Assignments given at all levels 300 and involved with practical experience in applying Pate-de-verre, cold working and kiln casting above. Includes research and development of to shows and exhibiting works. Majors are in the course of pursuing their sculptural goals. concepts using glass as a media for expression. learn and are assigned responsibilities in studio In the meantime, students will also practice Practice in hot glass working further advancing operation. Safety in the studio. Enrollment applying problem-solving skills to making art. fundamentals of blowing off-hand to more priority to Glass majors, advanced electives By the end of this course, students will have advanced techniques surface decoration of with one semester of hot glass. a thorough knowledge and understanding vessels and use of hot glass for sculptural Course fee required. 3 credits. of general kiln forming and acquire more ideas. Cold joining using special adhesives; advanced casting techniques. Ultimately, with and in cold glass, cutting, grinding and finishing Prerequisites: One semester of hot glass. this technical basis, the course will inspire techniques. Emphasis on hot glass in the fall; students to shape and realize an individual casting and cold glass in the spring. Safety and visual voice. Hot glass will be possibly General studio operation. Enrollment priority Glass Major Day conducted as complement. Open to all to Glass majors, intermediate and advanced GLS344M students with one semester of glass. electives first. First time beginners if enrollment Required of all Glass majors. Assignments Course fee required. 3 credits. allows. Course fee required. 3 credits. will be given at 200 and 300, Independently guided study at 400 level. Research in Prerequisites: One semester of glass. Course Catalog Glass 134

Advanced Glass Concepts: and cold glass techniques. Students will be Hot Sculpting involved with practical experience in applying GLS442 to shows and exhibiting works. Majors are With emphasis on Hot Sculpting and students learn and are assigned responsibilities in studio own voice and concepts using glass as operation. Safety in the studio. Enrollment a media for expression will be developed. priority to Glass majors, advanced electives Advancing skills in alternative methods for with one semester of hot glass. forming. Techniques is a goal. General studio Course fee required. 3 credits. operation. Safety in the studio. Enrollment priority to intermediate, advanced electives and Prerequisites: One semester of hot glass. majors first. Assignments given at an advanced prerequisite, one semester of hot glass. May be repeated. Course fee required. 3 credits. Glass: Major Day GLS444M Prerequisites: One semester of hot glass. Required of all Glass majors. Assignments will be given at 200 and 300, Independently guided study at 400 level. Research in Glass: Concept, developing concepts using glass as a medium Theory, and Practice for expression, includes work on production GLS443A practices, one of a kind vessel making to the Assignments given at all levels 300 use of glass to complete sculptural ideas. Independent projects at 400. Includes research Assignments will build individual students and development of concepts using glass as a voice. Team approach emphasized in hot media for expression. Practice in advanced hot shop, building on and from basic working glass working further building on fundamentals fundamentals. Beginning and advanced of blowing off-hand to more advanced practice in alternative methods for forming techniques surface decoration of vessels and include casting, mold construction, cold joining, use of hot glass for sculptural ideas. Advanced and cold glass techniques. Students will be methods for forming, may include hot casting, involved with practical experience in applying to mold blowing, using multiples; cold joining shows and exhibiting works. Majors learn and using special adhesives; and cold glass, cutting are assigned responsibilities in studio operation. grinding and finishing techniques. Emphasis on Safety in the studio. Enrollment priority to Glass Hot Glass. Safety and General studio operation. majors, advanced electives with one semester For Glass majors and advanced electives. of hot glass. Course fee required. 3 credits. Course fee required. May be repeated. 3 credits. Internship: Glass Prerequisites: One semester of hot glass. GLS499 Elective credit can be given on a case-by- case basis for an internship developed by Glass: Glass Major Day student through the career services office, GLS443M with advance permission of instructor and Required of all Glass majors. Assignments head of department. will be given at 200 and 300, Independently guided study at 400 level. Research in developing concepts using glass as a medium for expression, includes work on production practices, one of a kind vessel making to the use of glass to complete sculptural ideas. Assignments will build individual students voice. Team approach emphasized in hot shop, building on and from basic working fundamentals. Beginning and advanced practice in alternative methods for forming include casting, mold construction, cold joining, Course Catalog Glass 135 Course Catalog Humanities/Cultural Studies 136

will also address the subgenres of political Avant Garde Film Humanities/ documentary, mockmentary, fictionalized HCS325 documentary and hybrid documentary while Film, the quintessential art form of the 20th Cultural Studies exploring the critical and theoretical bases for century, added time and relativity to the artist’s the growth of the genre in the 21st century. palette. This course examines the abstract Assignments include: Required weekly film and non-narrative tradition: films that focus on Creativity and Taoism screening and assigned readings, seminar- manipulation of form, motion, and the collage- HCS300 style class discussions, two exams, and a final like collision of images in time (montage). This interdisciplinary course explores the paper/film or video project. May be applied as Topics include early Soviet formalists, Dadaist ground from which, in the Chinese Taoist Visual Culture Emphasis course. 3 credits. and Surrealist films of the 1920’s and 1930’s, philosophic view, all great creativity springs. and American underground films of the 1960’s The purpose is two-fold: first, to investigate and and 1970’s. Students keep a journal of their achieve an understanding of the Taoist world Survey of Contemporary Music impressions of each film shown. Course fee view through readings of primary texts such as and Its Relation to the Visual Arts required. May be applied as Visual Culture the “Tao Te Ching” and the “Chuangtzu,” and HCS309 Emphasis course. 3 credits. selected works from the Ch’an (Zen) tradition. This course will give an overview of avant-garde Second, we proceed to examine the Taoist music written in the twentieth (and twenty-first) and Ch’an perceptions are applied to and centuries, with particular emphasis on the Japanese Expressions affect the creation of the art object in traditional relationships between music and the visual arts. HCS328 China, primarily represented by selections Discussions in class will focus on composers This course is an introduction to the culture from Chinese poetry. Appropriate attention whose work helped define contemporary music of Japan as it is revealed in the Japanese will also be paid to intended relationships while creating aesthetic parallels to the visual literary and religious tradition and in modern between painting and poetry, occurring when arts. Emphasis will be placed on listening to literary and cinematic expression. Readings will poems are inscribed directly on paintings to avant-garde and experimental music, and include selections from early Japanese myth create an aesthetic whole. Here the notion that students will be expected to attend several and poetry, the diary and early novel forms, and “visual” and “literary” experiences are somehow recitals of contemporary music and write about the literary and aesthetic response to influence mutually exclusive will be challenged. We read their experiences. Students will also have to from China. Appropriate attention will be paid such poets as T’so Ch’ien, Wang Wei, Su Tung- complete reading and listening assignments to Noh drama and haiku poetry, writings in p’o and Han Shan, and we look at paintings by on a regular basis. May be applied as Visual the samurai tradition, a modern novel and a such artists as Mu Ch’i, Mi Fei, Shih T’ao and Culture Emphasis course. 3 credits. Japanese film. The purpose of this course is not Ni Tsan. Students are encouraged to connect to survey the whole of the Japanese experience, and contrast Taoist assumptions and themes but rather to read and view representative with their own knowledge and experiences as Intro to Narrative Film examples of Japanese expression with developing artists. May be applied as Creative HCS323 understanding and delight. May be applied as Writing Concentration course. 3 credits. This course will introduce students to Creative Writing Concentration course. the techniques which filmmakers use to 3 credits. communicate their narratives. The course will Film History and Theory: take Hollywood cinema as its model and survey Documentary basic film history through diverse film styles Ways of Thought: HCS304 and national cinemas. Each unit of the course Hinduism and Buddhism Documentary is one of the fastest growing will concentrate on a different aspect of film HCS366 independent film forms. From its political technique--mise en scene, editing, the shot, This two-semester course begins with an discourse to its autobiographical/memoirist sound and color--until a complete picture of introduction to similarities and differences narrative, America alone now produces film emerges. Students will be asked to keep between Eastern and Western systems of more documentaries than ever before. This a journal of film viewings, and they will write belief and action. It proceeds with a critical course will approach the broader topics of a short paper and be examined via two short cross-cultural comparison of Hinduism, Indian film history and theory through the genre of answer tests. Film screenings will be allied with and Chinese schools of Buddhism, Taoism documentary film, video and television. We the offerings of the Cinematheque and various in China, and Zen Buddhism in Japan. It will begin the course by discussing general cinemas in town. May be applied as Visual concludes with a comparison between two theories of realism in film and how documentary Culture Emphasis course. 3 credits. representative systems, one Eastern and one filmmaking arose from this body of work. We Western. The aim of this course is twofold: will trace the history of documentary film, to explore traditional philosophical, religious, viewing important early films and exploring and psychological perceptions that have seminal auteurs in the genre such as Flaherty, influenced life (ideal and otherwise) in India, Rouch, Mayles, and Wiseman. This course China and Japan, and to provide a basis for Course Catalog Humanities/Cultural Studies 137

understanding selected Asian cultures and, Naratology and Storytelling Our Creative Continuum through perspectives gained, to reflect upon HCS371X HCS388X our own. 3 credits. A combination studio and liberal arts class, Students will acquire a working knowledge we will dissect the nature of storytelling itself. of the history of the Cleveland Institute of What makes an experience worth recounting Art—with an emphasis on the diversity of Ways of Thought: Confucianism, to your lover, or to anyone? Why tell the tale accomplishment among both historical Taoism, and Zen to people months or years after it is no longer and current CIA faculty and alumni—and HCS367 news, or to people who have never heard of the will consider whether and, if so, how this This course is an introduction to systems of people in the story? Why bother? What does information supports their own developing belief and action in China and Japan. It begins one accomplish by telling the tale? Why does artistic identity and their membership in with a critical cross-cultural comparison of it matter just when you tell the tale? How are the CIA community, a “creative continuum” Confucianism, Taoism and Ch’an Buddhism tales shaped differently by different occasions, now spanning 130 years (1882-2012). in China and Zen Buddhism in Japan, by different communities of tellers and Understanding the history of our school will concluding with a comparison between two listeners? What are women’s tales, picaresques, involve some amount of attention to the history representative systems, one Eastern and one legends, myths? Folklore, performance theory, of Cleveland (especially post-1860) and its Western. The aim of this course is twofold: to and studio perspectives will guide us. May be location in Northeast Ohio, as well as the explore traditional philosophical, religious and applied toward liberal arts or studio credit. school’s proximity to the Cleveland Museum psychological perceptions that have influenced May be applied as Creative Writing of Art and other cultural institutions, once life (ideal and otherwise) in China and Japan, Concentration course. 3 credits. the school came to University Circle in 1905. and to provide a basis for understanding The impact of major 20th-century events like selected Asian cultures and, through the World Wars and the Great Depression perspectives gained, to reflect upon our own. Censorship, Art, and the Law on the school and its community will also be 3 credits. HCS386 considered. May be applied as Creative Writing This course will cover the history of censorship Concentration course. 3 credits. in America. We will begin with the language of John Cage: His Life, the First Amendment. We will then study the Work, and Influence evolution of the definition of obscenity starting From the Front Row: Cinema and HCS367X with the Comstack Laws and moving through an Approach to Critical Writing A course on the life and influence of John the current Supreme Court test for determining HCS389X Cage. The class will detail his history and delve whether an expression is obscene. We will look Does writing about a film mean something into his musical and artistic output, ideas, and at the laws surrounding child pornography as different from writing other things? What is influence on the creative arts today. Significant well as hate speech and art that incite violence. cinematic representation? Cinema is a cultural discussion will be given on his philosophies, For each of these categories of expression, phenomenon but what do we mean when we aesthetics, innovations, and teachings. The we will discuss anecdotal applications of say such a thing? Is film a language? What is course will also focus on Cage’s connections the First Amendment using artists such as critical theory? The aim of the seminar is to to the visual arts, and how this connection Mapplethorpe, Serrano, Ligon, Zimmerman, encourage undergraduate students interested impacted him artistically, while pushing him to Scott, Diana and Finley. While the primary in cinema to develop better written and verbal formulate ideas that in turn were a significant focus of the class will be on government action, skills within the context of a broader field and continuous influence on the visual arts we will also look at examples of self censorship of cinema studies. Students will debate the community. The class will also touch on how by the entertainment industry and public essence of cinema and acquire a framework Cage was able to make a living on the fringes galleries. Finally, we will finish with an overview for understanding its formal qualities. In the of a capitalist society while maintaining the of the Patriot Act, its current applications process, they will learn to experience film as values of anarchy and hard work. Regular and its implications for our future freedom of a visual language, explore its similarities to reading, writing, and listening assignments will expression. The question underlying all of the other arts, and analyze its relation to critical be given in class, and students will be expected historical context, anecdotal applications and dialogue. FROM THE FRONT ROW; Cinema to create works of art or musical compositions the current law is why do we censor? Are there and An Approach to Critical Writing is divided which embody the legacy of John Cage, ever legitimate justifications for censorship into three sections or thematic discussions with while pushing the boundaries of their own and if so, how do we, as a society, draw those each section intended to follow one another to artistic processes. 3 credits. lines? In addressing these issues, we will provide a cumulative sense of the field of study. study in depth the feminist anti-pornography Some cross-reference is required to initiate movement, excerpts from Susan Sontag’s On debate and discussion. May be applied as Photography, and the outcry over music lyrics Creative Writing Concentration course. post Columbine. 3 credits. 3 credits. Course Catalog Humanities/Cultural Studies 138

Sound Art and New Media HCS411 A course on how visual artists (and some composers) use sound in their works. Works discussed in class will include “stand alone” works of sound art, musique concrete, sound sculptures, installation works (using sound as a main component), radio art, film, and internet- based works. Students will be expected to identify differing qualities of sound, and there will be regular listening and reading assignments for each class. Students will also be given written assignments, and will have to compose a work of sound art or sound sculpture as a final project. May be applied as Visual Culture Emphasis course. 3 credits.

Avant-Garde Film: Montaged “Talkies” HCS425 Traditional film classes assume all films strive for narrative continuity and therefore organize their analyses around film techniques (editing, sound, cinematography), this class will view and discuss films of this a-chronological genre according to the underlying philosophical stance--or art movement--appropriate to each director. Theoretical approaches from visual art (surrealism, cubism, post-modernism), mathematics (fractal theory, chaos theory), psychology, history and from literary schools (“The New Novel” from Raymond Roussell to Robbe-Grillet) will provide intellectual and analytic base for these enigmatic works of narrative art. Course fee required. May be applied as Visual Culture Emphasis course. 3 credits. Course Catalog Humanities/Cultural Studies 139 Course Catalog Illustration 140

Character Design threads throughout the class as students Illustration and Development explore character development, lighting ILL265 and perspective and background concepts Exploration of tools, techniques, and hands-on development. Offered spring. 3 credits. Layout Rendering Techniques skills required in the creation of professional ILL260 illustrations, graphics, type, and visuals, Purpose and application of techniques integrating Illustrator and basic Photoshop Professional Standards for layout presentation, as well as refining imaging techniques in a lecture/ studio in Illustration finished art for reproduction. Emphasis on environment. Offered spring. 3 credits. ILL370 drawing, painting, ink and marker techniques, Introduction for junior students in dealing with and on preparation of finished art through professional standards set by the Illustration demonstrations, lectures, and hands-on work. Illustration: Internship market place. Concentration on the preparation Offered fall. 3 credits. ILL299 of art work to meet the demands required Elective credit can be given on a case-by- for successful application for client needs. case basis for an internship developed by Students will gain an appreciation for deadlines, Fundamentals of Illustration student through the career services office, client expectations and business practices in ILL263 with advance permission of instructor and collaboration of real-world scenarios. Offered Introduction to illustration, covering past and head of department. fall and spring. 3 credits. current influences. Emphasis on development of concepts and design, including use of materials and techniques. Offered fall. 3 credits. Illustration for Publication Visual Concepts in Illustration ILL363.3 ILL371 This course will focus on applications of This course encourages students to develop Principles of Illustration digital and tactile processes, materials, and a confident knowledge of design in illustration, ILL264 techniques from concept development through the thinking process, and production The Illustration department emphasizes the final reproduction. Offered fall. 3 credits. techniques necessary to compete in the field of understanding of contemporary themes applied arts and prepares illustration students and concepts as a basis for nurturing the to become working professionals within the student’s ability to translate this acquired Illustration II marketing communications community. It thematic vocabulary into inventive visual ILL364 will motivate the student’s visual awareness, solutions. The main objective is to motivate the This course will prepare illustration students teaching the student to conceptualize, design student’s visual awareness to a professional to become working professionals within the and execute on a professional level. Students level, realization that illustration is an applied marketing communications community. It become familiar with several techniques used art, a business, to satisfy the client needs, will motivate the student’s visual awareness, in editorial illustrations, book illustrations, and should be executed in a professional teaching the student to conceptualize, design advertising illustrations, as well as many others business manner. Experience classroom and execute on a professional level. Students using an extensive range of materials. Students assignments prepared in a job-like situation learn to produce quality illustrations and to learn to produce quality illustrations and to be will introduce the use of a client assigned be responsible for the conceptual aspects of responsible for the conceptual aspects of a art problems. This classroom experiment a project whenever necessary. This course project whenever necessary. Offered fall. assures the student the opportunity to encourages students to develop a confident 3 credits. develop a saleable skill and perform in a knowledge of design in illustration, the thinking professional manner, demonstrating a good process, and production techniques necessary attitude and work habits to meet deadlines. to compete in the field of applied arts. Community Projects Encounter a strong emphasis on different Offered spring. 3 credits. ILL390 techniques, methods, styles and types of Students will illustrate and provide art and illustration that will further provide advancement Prerequisites: ILL263 Fundamentals of production services for individual clients as towards future employment. Students will be Illustration well as for organizations in a professional introduced to past and present day Illustrators studio setting. The course emphasizes the to give a comprehensive overview of what student’s development of problem-solving, role an Illustrator plays when dealing in the Graphic Novels and Sequential Art meeting client demands, communication skills, solutions of design problems as well as better ILL367 organization and effective time management, understanding of style and techniques used This course covers the areas of sequencing and proper preparation of artwork for reproduction, by these Illustrators to solve these problems. storyboard development. This is a growing field teamwork and collaboration—all specific to Offered spring. 3 credits. within the traditional print illustration discipline. the marketplace as an introduction to real-life New techniques, ideas and concepts will be challenges. Offered fall and spring. 3 credits. Course Catalog Illustration 141

Illustration: Internship a statement detailing the nature and purpose ILL399 of the project, media selection, and procedural Elective credit can be given on a case-by- timetable. Offered spring. 3 credits. case basis for an internship developed by student through the career services office, with advance permission of instructor and Community Projects head of department. ILL490 Students will illustrate and provide art and production services for individual clients as Illustration: BFA Preparation well as for organizations in a professional ILL463A studio setting. The course emphasizes the An independently initiated illustration thesis student’s development of problem-solving, project is defined in a statement detailing the meeting client demands, communication skills, nature and purpose of the project, media organization and effective time management, selection, and procedural timetable. proper preparation of artwork for reproduction, Offered fall. 3 credits. teamwork and collaboration—all specific to the marketplace as an introduction to real-life challenges. Offered fall and spring. 3 credits. Illustration: Advanced Illustration Studio Projects ILL463B Illustration: Internship Students are required to begin thinking of ILL499 their upcoming BFA thesis project over the Elective credit can be given on a case-by- summer. On the first day of class students will case basis for an internship developed by be expected to present their thesis’ central idea student through the career services office, and have first iterations for visual expression of with advance permission of instructor and that idea. The beginning of the thesis project head of department. consists of research, discussion and tightening up of the central idea. Offered fall. 3 credits.

Illustration: BFA Thesis and Exhibition ILL464A An independently initiated illustration thesis project is defined in a statement detailing the nature and purpose of the project, media selection, and procedural timetable. Offered spring. 3 credits.

Illustration: Final Project: Illustration Portfolio ILL464B Students are required to begin thinking of their upcoming BFA thesis project over the summer. On the first day of class students will be expected to present their thesis’ central idea and have first iterations for visual expression of that idea. The beginning of the thesis project consists of research, discussion and tightening up of the central idea. An independently initiated illustration thesis project is defined in Course Catalog Integrated Media 142

Emphasizing the importance of interdisciplinary protest arts. We’ll look at artists’ use of a Integrated Media experimentation, students are encouraged to variety of media—including the news media, pursue personal and independent expression the internet, locative media, surveillance while giving full attention to researching and technologies, genetic modification, gaming and Visual Organization and Media developing original concepts. more—to implement social commentary and IME200 Offered fall and spring. 3 credits. criticism. Offered fall. 3 credits. In this course students will develop better organization and composition, knowledge and appreciation for type, integration of type Web Practice and Presence and grid, understanding hierarchy, and type IME320 as creative form. Students within IME take this In this course, students will learn about various course to help them consider sound design strategies of making websites and how these and layout principles in their own work, and are part of contemporary practice as an artist. organize information in combination with The ability to frame a project, solve a problem, images created in their specific majors. do research, then implement and use web This course is required for all students in techniques is explored in this course. Projects Animation, Biomedical Art, Game Design, will explore the contemporary practice of Illustration, Photography, TIME–Digital Arts working with web technologies in professional and Video majors and is open as an elective to practice including using FTP, social networking students in any other major. tools and listings, and other interactive forms. Offered fall and spring. 3 credits. Learning basic HTML, exploring online existing portfolio solutions, accessibility, hosting, and ftp will be part of this course. In class students Introduction to Media Production will experience interacting with website and Integration examples, discussing selected readings, doing IME201 weekly assignments, and participating in This course focuses on media integration, critiques. Offered fall and spring. 3 credits. innovation, and developing strategies of doing production. Projects will focus on narrative storytelling with media exploring the use of Creative Resistance: Media Art in both interactive and linear mediums. The use of Social Sphere Motion, time, interface, and sound are also core IME340 topics explored in this course. 3 credits. This studio course will introduce students to the process and strategies of integrating social activism with media art. Through reading Image, Narrative, and Sequence and discussion, the course will establish the IME267 historical and theoretical context of tactical The concentration of this course is an media, hacktivism, and other media-based intensive study on discussion and research protest arts. We’ll look at artists’ use of a of the aesthetics, techniques and problems variety of media—including the news media, of pre-production for digital media visual the internet, locative media, surveillance storytelling, for both linear and non-linear technologies, genetic modification, gaming and output. We will investigate ways in which to more—to implement social commentary and use more than characters to define mood and criticism. Offered fall. 3 credits. forward the narrative. We will focus on how elements such as subject/object positioning, background, props, timing, audio, camera Creative Resistance: angles, lighting, graphic design, composition Media Art in Social Sphere of frames, and using suitable text enhance IME440 the communication of your ideas. We will hold This studio course will introduce students to regular presentations and critiques analyzing the process and strategies of integrating social your composition of all visual and audio activism with media art. Through reading elements in progress and discuss methods in and discussion, the course will establish the which to enhance everything to work together historical and theoretical context of tactical to tell a more complete, fully realized narrative. media, hacktivism, and other media-based 143 Course Catalog Industrial Design 144

Industrial Design: Specific project themes will be driven by Industrial Design Transportation Design sponsors (typically General Motors in the Fall IND235A and Chrysler in the Spring), while deliverables This course is focused on exposing students will be determined by the individual aptitude Marketing and Design to the knowledge, skills and qualities that are and experience. Regular formal reviews with IND075 important for a career in transportation design. enable individuals to develop verbal and visual This course exposes students to the CIA faculty and practicing transportation presentation skills, and formal lectures will relationship between design and marketing, designers will demonstrate methods for be balanced against one-on-one in-studio specifically addressing social/ethical creating context, inspiring designs, ideation instruction. Offered fall and spring. 3 credits. responsibility, research, strategic marketing, through sketching/rendering, verbal and branding, distribution, advertising and visual communication, and understanding the pricing. Each class will include lectures and fundamental architecture of an automobile. Materials and Processes exercises, and will be supplemented with Specific project themes will be driven by IND239 assigned readings and regular performance sponsors (typically General Motors in the Fall This course provides an overview of opportunities. Individuals will be required to and Chrysler in the Spring), while deliverables contemporary manufacturing methods develop a marketing plan for a product created will be determined by the individual aptitude used in industry, in addition to the material in the Industrial Design studio. Offered fall. and experience. Regular formal reviews with selections used to support them. Lectures will 3 credits. enable individuals to develop verbal and visual provide an overview of the generally accepted presentation skills, and formal lectures will design practices for selected manufacturing be balanced against one-on-one in-studio processes and materials, along with a Ergonomics instruction. Offered fall and spring. 3 credits. framework to make cost-based decisions for IND085 selecting a specific process. Each student This course focuses the process of designing is required to disassemble and evaluate the for human use. Anthropometrics, task analysis, Industrial Design 1 manufacturing methods used in an electro- user experience, research and safety are IND236 mechanical consumer device and attend explored. Course content is aligned with This course is an extension of Industrial Design factory visits. Each class will include lectures projects in Industrial Design 1 . Each class 1 , with a focus on advanced industrial design and exercises, and will be supplemented with will include lectures and exercises, and will and product development processes and assigned readings and regular performance be supplemented with assigned readings and principles. Emphasis will be placed on in-depth opportunities. Offered fall. 3 credits. regular performance opportunities. analysis and synthesis, in addition to broad Offered spring. 3 credits. market-driven exploration. One semester project will focus on problem solving based on Communication Skills systematic ergonomic testing, while the other IND285 Industrial Design 1 is a sponsored project that involves interaction This course will focus on the development IND235 with design, marketing and engineering of effective visual communication. An This course will focus on basic processes and professionals. Regular formal reviews with emphasis will be placed on exploring and principles of industrial design and product enable individuals to develop verbal and visual communicating ideas through sketching, development. An emphasis will be placed on presentation skills, and formal lectures will rendering, orthographic drawing, modeling user-centered problems solving and methods be balanced against one-on-one in-studio and verbal/visual presentation. Studio time will for achieving innovative results. Multiple instruction. Offered spring. 3 credits. include demos, one-day assignments, work semester projects are structured around time and one-on-one instruction. Coursework key design concepts and individual career Prerequisites: IND235 Industrial Design 1 is designed to align with projects in Industrial interests. Projects are structured to reinforce Design 1 . Offered fall. 3 credits. research, concept generation and refinement, resulting in solutions that address functional Transportation Design and aesthetic issues. Regular formal reviews IND236A Communication Skills with enable individuals to develop verbal and This course is focused on exposing students IND286 visual presentation skills, and formal lectures to the knowledge, skills and qualities that are This course is an extension of Fall will be balanced against one-on-one in-studio important for a career in transportation design. Communication Skills and will focus on the instruction. Offered fall. 3 credits. CIA faculty and practicing transportation development of effective visual communication. designers will demonstrate methods for An emphasis will be placed on exploring and creating context, inspiring designs, ideation communicating ideas through sketching, through sketching/rendering, verbal and rendering, orthographic drawing, modeling visual communication, and understanding the and verbal/visual presentation. Digital fundamental architecture of an automobile. communication tools and techniques will be Course Catalog Industrial Design 145

introduced, including the use of digital drawing Industrial Design 2 with enable individuals to develop verbal and tablets. Studio time will include demos, one- IND335 visual presentation skills, and formal lectures day assignments, work time and one-on-one This course will focus on in-depth design will be balanced against one-on-one in-studio instruction. Coursework is designed to align exploration, placing an emphasis on high- instruction. Offered spring. 3 credits. with projects in Industrial Design 1 . level research, innovative concept generation Offered spring. 3 credits. and refinement focused on problem solving Prerequisites: IND236 Industrial Design 1 and manufacturability. Semester projects will Prerequisites: IND285 Communications focus on sustainability and furniture, the later Skills 1 project requiring a full-size functional prototype. Transportation Design Project themes are intended to cover key IND336A critical information, while tailoring material to This course is focused on exposing students Industrial Design: Internship individual interests. Regular formal reviews to the knowledge, skills and qualities that are IND299 with enable individuals to develop verbal and important for a career in transportation design. Elective credit can be given on a case-by- visual presentation skills, and formal lectures CIA faculty and practicing transportation case basis for an internship developed by will be balanced against one-on-one in-studio designers will demonstrate methods for student through the career services office, instruction. Offered fall. 3 credits. creating context, inspiring designs, ideation with advance permission of instructor and through sketching/rendering, verbal and head of department. Prerequisites: IND236 Industrial Design 1 visual communication, and understanding the fundamental architecture of an automobile. Specific project themes will be driven by 3D Modeling 1 Industrial Design: sponsors (typically General Motors in the Fall IND303 Transportation Design and Chrysler in the Spring), while deliverables This course focused on introducing students IND335A will be determined by the individual aptitude to 3D digital modeling for the industrial design This course is focused on exposing students and experience. Regular formal reviews with profession. It employs a surface modeling to the knowledge, skills and qualities that are enable individuals to develop verbal and visual approach using Auto Desk Alias Design important for a career in transportation design. presentation skills, and formal lectures will software to create multiple class driven projects. CIA faculty and practicing transportation be balanced against one-on-one in-studio Study consists of a lecture/demo format in a designers will demonstrate methods for instruction. Offered fall and spring. 3 credits. computer lab environment. In class work will creating context, inspiring designs, ideation emphasize key modeling concepts and will be through sketching/rendering, verbal and supplemented with student-driven projects visual communication, and understanding the Industrial Design: Internship intended to develop practical application fundamental architecture of an automobile. IND399 strategies and skills. junior standing is Specific project themes will be driven by Elective credit can be given on a case-by- required for registration of this class. sponsors (typically General Motors in the Fall case basis for an internship developed by Offered fall. 3 credits. and Chrysler in the Spring), while deliverables student through the career services office, will be determined by the individual aptitude with advance permission of instructor and and experience. Regular formal reviews with head of department. 3D Modeling 1 enable individuals to develop verbal and visual IND304 presentation skills, and formal lectures will This course is a continuation of the fall 3D be balanced against one-on-one in-studio Industiral Design: 3D Modeling 2 Modeling (IND303) course with an emphasis on instruction. Offered fall and spring. 3 credits. IND403 an expanded knowledge of surface modeling This advanced digital modeling course offers techniques. An emphasis will be placed on the option to continue surface modeling using surface continuity and transition, in addition Industrial Design 2 Auto Desk ALIAS (for students interested in to exploration of organic forms. Students IND336 automotive design) or Solid Works to for those will acquaint themselves with the process This course is an extension of Industrial Design interested in gaining exposure to solid modeling of preparing and exporting files for output. 2 , with a focus on strategic aspects of design. (for students interested in product design). The Rapid prototyping will be introduced with and Further emphasis will be placed on research, ALIAS option will include advanced methods for opportunity to created physical parts using an concept generation and refinement focused exterior surfacing, while the Solid Works option on site three-dimensional printer. Additional on problem solving. Semester projects will will focus on the user interface and basic solid methods and resources for rapid prototyping focus on design in the context of business modeling procedures. Offered fall. 3 credits. will also be introduced. Offered spring. objectives and a broader product development 3 credits. environment. Project work will involve teamwork Prerequisites: IND304 3D Modeling 1 and direct interaction with outside design and Prerequisites: IND303 3D Modeling 1 marketing professionals. Regular formal reviews Course Catalog Industrial Design 146

3D Modeling 2 presentations that create context for the project Transportation Design IND404 and effectively communicate the validity of IND436A This is a continuation of the fall 3D Modeling the project and outcomes. In order to gain This course is focused on exposing students course (IND403) with an option to continue exposure in the design community, individuals to the knowledge, skills and qualities that are Auto Desk ALIAS Automotive (for automotive will be required to submit their final design to important for a career in transportation design. design) or Solid works (for product design). a design competition. Formal reviews will be CIA faculty and practicing transportation The Auto Desk ALIAS Automotive option will balanced against weekly one-on-one studio designers will demonstrate methods for focus on advanced presentation rendering discussion. Offered fall. 3 credits. creating context, inspiring designs, ideation techniques for automotive design including key through sketching/rendering, verbal and frame animation and rendering procedures. Prerequisites: IND336 Industrial Design 2 visual communication, and understanding the Projects will culminate in fully modeled exterior fundamental architecture of an automobile. or Interior Design presented as a finished Industrial Design: Specific project themes will be driven by animation of students own design. The Solid Transportation Design sponsors (typically General Motors in the fall Works option will focus on surface modeling IND435A and Chrysler in the Spring), while deliverables techniques and the differences and advantages This course is focused on exposing students will be determined by the individual aptitude of combining solids with surface modeling to the knowledge, skills and qualities that are and experience. Regular formal reviews with techniques. Areas of study will include important for a career in transportation design. enable individuals to develop verbal and visual surfacing tools loft and boundary and continuity CIA faculty and practicing transportation presentation skills, and formal lectures will options for curvature and 3D sketching. designers will demonstrate methods for be balanced against one-on-one in-studio Additionally advanced editing techniques will be creating context, inspiring designs, ideation instruction. Offered fall and spring. 3 credits. explored. Offered spring. 3 credits. through sketching/rendering, verbal and visual communication, and understanding the Prerequisites: IND403 3D Modeling 2 fundamental architecture of an automobile. Industrial Design: Internship Specific project themes will be driven by IND499 sponsors (typically General Motors in the Fall Elective credit can be given on a case-by- Design Center-Based and Chrysler in the Spring), while deliverables case basis for an internship developed by Learning: ID/TIME will be determined by the individual aptitude student through the career services office, IND417 and experience. Regular formal reviews with with advance permission of instructor and This course functions as a professional design enable individuals to develop verbal and visual head of department. studio, placing an emphasis on client-based presentation skills, and formal lectures will projects and interdisciplinary teamwork. All be balanced against one-on-one in-studio companies/organizations who are participating instruction. Offered fall and spring. 3 credits. in the course make a financial commitment to CIA and intern team members are compensated. Compensation varies, but is Industrial Design 3 based on the project budget, time commitment IND436 and individual contributions. The faculty, who This course will focus on planning/preparation will oversee the process, deliverables and and execution of work for three primary schedule for each project, will determine milestones, including Employment search, studio responsibilities (enrollment requires prior BFA and Spring Show. Individuals will be approval by instructor). Offered fall and spring. responsible for determining what work will 3 credits. be accomplished based on career objectives and for an overall work schedule which will serve as a guide for the semester. Faculty Industrial Design 3 will be available in studio to provide advice IND435 on organization, project work, portfolio This course focuses on the semester-long development and networking. Offered spring. thesis project. Individuals will define the 3 credits. project theme and work with faculty to identify key problems and opportunities. In-depth Prerequisites: IND435 Industrial Design 3 research will inform concept develop, ultimately resulting in a refined solutions that considers functional needs, aesthetics and manufacturing. Additionally, individuals are expected to create compelling visual, verbal and written Course Catalog Industrial Design 147 Course Catalog Interior Design 148

formal critiques using presentation methods Retail Design and Brand Design Interior Design and skills. Final project is group collaboration. INT332 Mandatory for all sophomore Interior Design Course includes brand-focused projects Majors. Open elective, sophomore and above. including a retail design project hosted at client Space and Planning Offered spring. 3 credits. location with the final presentation to their Fundamentals design team and an advance design problem INT231A Prerequisites: None with industry interaction or competition with This course will cover the basic understanding a potential summer internship. Mandatory for of space planning and documentation, floor all junior Interior Design Majors.Open elective, planning and elevations material selection, INT Communication Skills 1 sophomore and above. No prerequisites for sample and presentation boards, space and INT285 electives. Offered spring. lighting relationships, furniture and mechanical The basics of perspective drawing are taught 3 credits. layouts, flow and movement. Open elective, in twelve assignment modules covering all sophomore and above. Offered fall. 3 credits. forms of measured perspective drawing. The Prerequisites: INT232A and INT331 for Interior final design project will include drawing and Design Majors renderings as a requirement. Open elective, Architectural Drawing sophomore and above. Mandatory for all and Documentation sophomore Interior Design Majors. Offered fall. Interior Design: Autocad INT231B 3 credits. INT333 This course is an introduction to hand drafting A series of modules covering the basics of and documentation including drawing, lettering Prerequisites: None AutoCAD with a final project. Mandatory for all and historic referencing as well as ADA topics, junior Interior Design Majors. Open elective, historic vernacular, and space planning. Field sophomore and above. Offered fall. trips may be included. Mandatory for all INT Communication Skills 2 3 credits. sophomore Interior Design Majors. Open INT286 elective, sophomore and above. Offered fall. Intermediate Level drawing and rendering Prerequisites: None 3 credits. including perspective drawing from several viewpoints, rendering techniques in several styles media and design projects throughout Architecture and Retail, Restaurant, course. Mandatory for all sophomores Interior Communication Skills and Store Design Design Majors. Open elective, sophomore and INT385 INT232A above. Pre-requisites for Interior Design majors: Advanced level drawing and rendering, Introduction to Retail Design INT285. No prerequisites for electives. Offered focusing on traditional and digital media. Course includes several retail design problems spring. 3 credits. Mandatory for all junior Interior Design Majors. covering various problem-solving methods Open elective, sophomore and above. Pre- including: retail fixture/specialty retail project Prerequisites: Interior Design Majors: INT285 requisites: INT285 and INT286 required for working with a local Cleveland-based Electives: No prerequisites. Interiors majors. No prerequisites for elective company and retail storefront design. Students students. Offered fall. 3 credits. will participate in formal critiques using presentation methods and skills. Mandatory Interior Design: Prerequisites: INT285 and INT286 for for all sophomore Interior Design Majors. Open Intermediate Problems Interior Design juniors. Elective students: No elective, sophomore and above. Offered spring. INT331 Prerequisites. 3 credits. Intermediate level retail and space design including various conceptual and visual Prerequisites: None projects increasing in detail and complexity, Interior Design: Internship such as building exteriors, exhibit, and museum INT399 design as well as local community project. Elective to Interior Design juniors who have an Materials, Research, Introduction of fabrication methods. Industry internship opportunity with the approval from and Space Planning professional input at various critiques. the Department Head. INT232B Mandatory for all junior Interior Design Majors. Space planning projects based on special Open to all juniors and seniors. Pre-requisites: programming and research including furniture INT232A. Offered fall. 3 credits. design, finishes and furnishings, material presentations from the manufacturing industry Prerequisites: INT232A and field trips. . Students will participate in Course Catalog Interior Design 149

Interior Design: Interior Design Senior Thesis Problem BFA Survey INT431A INT432A A semester-long self-defined intense problem, Final Preparation for senior BFA. Faculty involving a research document, several work with seniors to prepare + plan their final advisors, and two major presentations. BFA Exhibition + Presentation for spring. The final presentation is given in a gallery Preparation for career search and interviewing environment and is open to the general public. skills will be a part of the course. Pre-requisites: The thesis encompasses all aspects of the All sophomore and junior major studio courses student previous course work and is their must be completed. Offered spring. 3 credits. most thorough project.Mandatory for all senior Interior Design Majors. senior Students outside Prerequisites: All sophomore + junior Major Interior Design may petition to take this course studio courses must be completed. with Department Head approval. Offered fall. 6 credits Interior Design Prerequisites: Interior Design Majors must Advanced Problems complete all sophomore and junior studio work INT432B prior to this course. seniors students from other A senior level advanced Design problem will majors may petition to take this course with the be assigned to the students with a final review approval of the Department Head. with an industry professional. Pre-requisites: All sophomore and junior major studio courses must be completed. senior students from Interior Design outside the department may petition to enroll INT432 in the course with major department chair’s Advanced brand and market driven projects approval. Offered spring. 3 credits. one internally and the other hosted by and presented at a major design firm who provides Prerequisites: All sophomore + junior Major awards to top students. Offered spring. design courses must be completed. senior 3 credits. students from outside Interior Design may petition to enroll in this course with Department Head approval.

Interior Design: Internship INT499 Elective to Interior Design juniors who have an internship opportunity with the approval from the Department Head . Course Catalog Literature, Language, Composition 150

Writing for the Art/Design Career knowledge of arts journalism from multiple Literature, LLC204W vantage points: as readers, writers, and editors. This course offers students the opportunity Students will gain experience in producing Language, to develop strong writing skills for the types finished articles that can be published online of writing involved in art and design careers. through various websites and blogs, eventually Compostion The first and biggest part of this course is including CIA’s own online journal. As a devoted to these career-related forms and is sophomore writing elective, this course will predicated on an exploration of the relationship fulfill LLC 104 requirement and also serve as LLC 101 - Writing and Inquiry I: between the rhetorical and the design arts. a valuable component of CIA’s new writing Basic Composition and The culminating project for this section of the concentration. Fulfills Humanities/Cultural Contemporary Ideas course, therefore, will be a portfolio containing Studies distribution requirement. Creative LLC101 the final versions of each of the writing Writing Concentration course. 3 credits. A composition-intensive course that assignments, designed to showcase visually emphasizes basic composition skills, while the collected written works, and thus also to introducing basic research and documentation demonstrate the extent to which the student Hybrid Writing skills. Along with cultivating the concomitant has pursued the relationship between rhetoric LLC206X skills in critical reading and thinking, this and design. Each student’s portfolio will sophomore level writing seminar focusing on course also introduces an explicitly theoretical contain the types of career documents relevant intergenre hybrid writing, with an emphasis approach to contemporary culture. Twenty to her/his own particular emphases or goals on the New Narrative movement, open to pages of student expository writing will be within the art/design fields represented by the all students, of special interest to students required. Offered fall. 3 credits. particular group of students in the class. A interested in writing adventurously and later, smaller part of the course will explore the creatively about their chosen art and design theories and argument strategies of art critical forms. The method of instruction for this Writing and Inquiry II: Research essays and reviews as models for the students’ class will combine short lectures with class and Intellectual Traditions own assignments in critical writing. These discussion, workshops, and in-class writing LLC102 assignments will include one art or design experiments. The class will be structured An intermediate writing and research course show review and one critical essay on an art or around the idea of creative research, and will based in readings on the western intellectual design subject selected by the student for the potentially involve research days utilizing the and cultural heritage and their global contexts. relevance of its subject to his/her own studio museum or the library. Peer feedback sessions The course will emphasize the basic research work. Class work will focus on writing, tutorials, and a final short critical paper are designed to skills involved in both academic writing and and peer editing/critique, allowing students assist students in developing a constructive, studio processes. Twenty pages of student ample opportunity to become comfortable original vocabulary to critically assess both expository writing will be required. with, and even accomplished in, the kinds of their own creative work and that of others. Offered spring. 3 credits. writing necessary for self-presentation and Fulfills Humanities/Cultural Studies distribution critical engagement in visual arts careers. requirement. Creative Writing Concentration Prerequisites: LLC 101. Fulfills Humanities/Cultural Studies distribution course. 3 credits. requirement. Creative Writing Concentration course. 3 credits. Writing and Inquiry III: Autobiographical Narrative in Narrative Forms African Literature LLC203 Arts Journalism LLC207W This course continues to build students’ skills LLC205W This course consists of six first-person in writing, research, critical thinking, and In this elective course, students will study accounts, which highlight the socio- argument, while introducing a survey of various forms and stages of writing about historical and psychological significance of narrative forms and critical methods based art for publication. In addition to reading and the autobiographical narrative in the black in narratology to be used in the analysis and discussing effective examples of published experience. The autobiographical mode understanding of narrative. Offered fall writings on art, students will produce a total of is one of the predominant forms of literary and spring. 3 credits. 20 pages of writing throughout the semester expression in black literature, dating back to in the form of reviews, interviews, profiles, the “slave narrative” of the eighteenth century, Prerequisites: LLC 101. and feature stories. Students will alternately just as it is in the hands of African artists a function as writers and editors as they produce prominent literary form that is characterized written work that is expressly conceived and by its predominantly collective and communal shaped for publication.Through reading and narrative voice. The course will focus on the writing assignments, discussions, and in-class interface between individual life-story and exercises, students will gain a well-rounded collective (social) history. It will also consider Course Catalog Literature, Language, Composition 151

in the postmodernist sense the thin line advance to the members of the class and to the Screenwriting between fiction and history (art and life), while instructor. Fulfills Humanities/Cultural Studies LLC318 exploring individual consciousness as an art distribution requirement. Creative Writing What is a spec script, a slugline, a smash cut? of rhetorical self-definition and subjectivity. Concentration course. 3 credits. What’s the difference between montage and a The last two books include two generational series of shots, and why does the screenwriter responses to womanist issues; and both of need to know? One script page averages them problematize the autobiographical art- Poetry Writing how many minutes of onscreen film time? In form. There are six videos primarily to provide LLC211W addition to the demands of just plain good socio-historical background to the course. The This class will focus on the creation, revision, storytelling, writing for film entails expressing videos, as visual texts, are also meant to create oral and visual presentation of poems. Because everything about the story visually, which gives a critical interface with the 6 literary socio- good writing requires deep reading, we’ll also visual artists an advantage in adapting to the constructs, with a view to stimulating your deep be reading and responding to poems from an demands of the form. It is the screenwriter’s insights into the course. Fulfills Humanities/ anthology throughout the semester. Students job to put all of the sights, sounds and Cultural Studies distribution requirement. will be required to keep a journal that responds speeches on the page, while still leaving Creative Writing Concentration course. to anthology poems in the form of imitation room for interpretation by the filmmakers. In 3 credits. poems, commentary, letters to the poets, or this course we will discuss the elements of illustrations. Class time will be spent doing good storytelling, study the screenplays of writing and revision exercises, small-group Pulp Fiction and Chocolat, and write a short Science Fiction Writing Workshop work, discussing poems from the anthology, screenplay formatted to conform to industry LLC210W playing with various aspects of poetry, and standards. Fulfills Humanities/Cultural Studies The genre (or sub-genre) of science fiction workshopping poems written in class. The distribution requirement. Creative Writing may, on one level, be seen as a variety of final project will entail creating a chapbook Concentration course. 3 credits. Romanticism, as an extended collective of poems written during the semester. Fulfills response to features of modernity, specifically Humanities/Cultural Studies distribution scientific discoveries and innovations, as well requirement. Creative Writing Concentration On the Same Page: as elements of the Industrial and technological course. 3 credits. Rhetoric, Design, revolutions. Science fiction, in its astonishing and Writing in the Digital Age number of permutations, has filled a vast LLC351X canvas of imaginative possibility, discovering a Spies This course will allow students to develop the range of responses and forms that range from LLC309X skills and understanding necessary for literacy the dystopian, pessimistic, even nihilistic, to the In this seminar we will discuss spying in its in our information-saturated times. Facilitated utopian. We hear and see, in the voices and many manifestations including the reasons and by growth in electRonic technologies, more and imaginations of different science fiction writers justifications offered for spying; the different more types of written texts, in both print and and artists, warnings and celebrations, but at types of spying; the means by which spying online media, have fused with images and other the bottom, questionings of what it means to is conducted; and whether or not spying is a graphics. Literature producers and consumers be human and of what kinds of possibilities necessary evil. We will use a variety of texts in of these emerging hybrid texts will need may lay before us. Science fiction is also a the class, non-fiction historical works as well awareness of and competence in the complex remarkably popular genre; it’s vitally manifested as fictional works. Through a variety of media communicative strategies that they engage. in books, television shows, films, toys, games. including film, hypertext, popular culture essays, While this course offers valuable knowledge In this class we will investigate some of the fiction, and radio programs, we will explore the to any developing artist, it is particularly space(s), both literal and metaphorical, that fascination with spies and what spies represent suitable for students studying in the visual science fiction (and popular ideas of science) culturally and historically. Our object is that communications majors; i.e., Graphic/ offer to the imagination. The course’s center, by the end of the semester we will be better Communication Design, Illustration, Biomedical however, is the students’ own writing and their readers of texts and more knowledgeable Art, Film, Video and Photographic Arts, Digital own ideas, and will be conducted in workshop about issues of identity, deception, and Arts. Fulfills Humanities/Cultural Studies format, with relatively brief lectures by the information gathering. Fulfills Humanities/ distribution requirement. Creative Writing instructor presenting relevant literary, historical, Cultural Studies distribution requirement. Concentration course. 3 credits. theoretical and biographical backgrounds Creative Writing Concentration course. and contexts. During the semester, students 3 credits. will present two to three original works-in- Contemporary African and progress (either creative or critical) to the class, African American Literature distributing photocopies of their work a week in LLC359 Today a good deal of Third-World literature in particular expressed in many vital respects postmodern historical awareness of the Course Catalog Literature, Language, Composition 152

parmountcy of the power relations hidden we will work backward to the Pre-Columbian discuss technique, study master storytellers, behind political, economic and social original narrative forms, and forward through and critique one another’s work. Some institutions and structures both nationally and the written records of the complex colonial weekly topics in writing technique take up the internationally. With particular emphasis on contexts of the literary art in both Americas. issues of narrative structure, clear meaning, political economy, this course will examine We will also trace the divergent results of the turning story into plot, scene content and how this literature re-contextualizes such influences of European literature, following in scene break, dialogue, conflict and tension, critical sociological questions as: What’s each case the developments of such directions the power of point of view, the revelation of traditionalism? What’s modernization? The as we can identify in the prose and poetry of character, and rewriting. Over the course of the African-American texts highlight African- the colonial and postcolonial periods of each term, students work on three pieces of fiction. American socio-economic challenges today, America. Reading widely and also closely, we Fulfills Humanities/Cultural Studies distribution dating back to Emancipation/Reconstruction, will consider how best to trace the parallel requirement. Creative Writing Concentration alongside their efforts at socio-cultural self- emergence of these national literatures, course. 3 credits. definitions. Fulfills Humanities/Cultural Studies seeking in a juxtaposed study what common distribution requirement. Creative Writing literary and extra-literary antecedents and Concentration course. 3 credits. shaping forces the texts in both traditions may Creative Writing reveal. We will also inquire into the nature of the LLC393 distinctions that must be made between these This course will give students the opportunity Jazz: Contemporary traditions, and into the impact the differences to explore the three essential genres of creative African-American Writers between these literatures may have of the writing in a practicum setting. Study and LLC374X understanding of what we mean by the phrase practice will center on basic analytic methods This course will deal with a very select number “American literature.” Fulfills Humanities/Cultural for reading and basic inventive methods for of contemporary female and male African- Studies distribution requirement. Creative writing short fiction, poetry, and dramatic American writers who have won outstanding Writing Concentration course. 3 credits. narratives. Course assignments will include awards from various national literary awards exercises in writing the short story, including to The Nobel Prize. The selected authors are the short graphic narrative; various poetic Toni Morrison, Patricia Raybon, John Edward Creative Writing Workshop: forms such as the sonnet, the villanelle, and Wideman and Edward P. Jones. The central Dialogue and Story the free verse poem; and variants of the drift of this course will be concerned with LLC391 short dramatic narrative such as the screen today’s multifarious significance of the complex In this course, we concentrate first on writing treatment, the story board, and the short film black experience. It will therefore look into dialogues, looking at the ways in which script. Creative Writing can be taken to satisfy how all these writers combine a keen historical conversation establishes character, creates either required junior/senior Writing-Intensive sense with a discerning aesthetic sensibility and resolves conflict, and advances plot. We’ll credit or Open Elective Liberal Arts credit. It to explore afresh in a postmodernist sense see how these dialogues “play” first when we will allow students who are planning visual the intriguing black experience with deep stage them, and then we put them back on arts careers involving writing (i.e., illustration, intellectual reflections. It will also examine how the page and wrap stories around them. In- film, and video) to develop the basic critical in relation to their individual subject-matters class, team-writing exercises are designed to and writing performance skills necessary for they all artistically problematize the aesthetic jump start your ideas and provide our working their professional advancement. Students and philosophical questions about the thin line material. We’ll also take a look at excerpts from who may be considering the Creative Writing between fact and fiction, historical veracity and narratives by master storytellers, experiment Concentration program are strongly urged to imaginative truth, and art and artifice. Our class with re-telling the story just through dialogue, take this course during their sophomore year. selection will consist of four books published and see how these artistic choices inevitably Fulfills Humanities/Cultural Studies distribution between 1984 and 2003. A number of videos shape the content itself. Fulfills Humanities/ requirement. Creative Writing Concentration will be shown for visual elucidation of the Cultural Studies distribution requirement. course. 3 credits. books’ underlying concerns. Fulfills Humanities/ Creative Writing Concentration course. Cultural Studies distribution requirement. 3 credits. Creative Writing Concentration course. Intro African and African- 3 credits. American Literature and Culture Fiction Writing LLC411 LLC392 This course will focus on traditional Africa up Literature of the Americas Fiction is the sustained application of the to the threshold of the European colonization LLC388 literary artist’s imagination to the observation of the continent. The African texts as a whole This course will survey the concurrent but of life, and writing it well requires a vision of offer a brief introduction to traditional African separate developments of the literary traditions what’s true in the story before it ever reaches thoughts and ways of life and also to the of North and South America. Taking Columbus’ the page. Fiction Writing provides the student growing incursion of colonialism. The course arrival on Hispaniola as our point of anchor, with the opportunity to write short fiction, highlights the paramountcy of kinship care, Course Catalog Literature, Language, Composition 153

communal life, and individual fulfillment in visual media. Primary readings are likely to phenomenon described as deracination or “the harmony with society. It also stresses a social include, but are not limited to, work by: Art crisis in the soul” (Achebe) or “triple heritage/ thinking underlain by a collective unconscious Spiegelman, Marjane Satrapi, Alan Moore, cultural accommodation” (Ali Mazrui). In of the inseparableness of the living and the Craig Thompson, and others. Films we watch postmodernist terms, it has led to syncretism. dead, the physical and the metaphysical. The may include Spirited Away, The Dangerous The course will also explore analogies from African-American texts taken all together Lives of Altar Boys, and Rashomon. Fulfills the multidimensional art, mainly from the highlight, notably from Harlem Renaissance, Humanities/Cultural Studies distribution interchange between visual and literary arts. significant stages of the African-American requirement. Creative Writing Concentration Fulfills Humanities/Cultural Studies distribution cultural-literary expressions of their socio- course or Visual Culture Emphasis course. requirement. Creative Writing Concentration historical experience and an attendant sense 3 credits. course. 3 credits. of religion manifested particularly through the Black Church. The subtext of this course is to see if traditional life, an example of which Woman’s Words: Studies in the Narrative Art and Mythic Patterns is traditional Africa, still has any value for the Literature Written by Women in African and African American technological world of today. Fulfills Humanities/ LLC424 Literature Cultural Studies distribution requirement. This course is designed to outline the LLC471 Creative Writing Concentration course. contributions of women to the origins and This course will focus on the various artistic 3 credits. development of the novel genre in English ways African and African-American imaginative and American literature from 1688 to the writers create a narrative interlock of mythic present time. It will focus on discovery of the and contemporary materials to formulate Writing Concentration: relationships between the earliest women’s in postcolonial and postmodernist terms Body of Work literary production and the literature written by an essentialist condition of their people’s LLC415 the women of this moment. It will inquire into experience, while a number of them explore the Required of seniors pursuing the Creative the areas of race and social class as they are interface of classical and African myths for an Writing Concentration. Not open as an elective. directly relevant to (or feature as tropes within) informed global vision. Their works are largely Fall and spring semesters required. 1.5 credits the literature comprising our reading list. It structured with images and symbols endowed also introduces some of the basic theoretical with dynamic moral and spiritual significance. questions that feminist scholarship has raised They problematize the African thinking underlain Writing Concentration: in connection with women’s writing during by the inseparableness of the natural world Body of Work Continued these periods. Through selected readings, and the supernatural realm, the human and the LLC415C research, and critical discussion, members divine, the animate and the inanimate, just as Required of seniors pursuing the Creative of this class will become familiar with modern this inseparableness also aesthetically underlies Writing Concentration. Not open as an elective. women’s literature, its social/historical contexts, the relationship between the naturalistic and Fall and spring semesters required. 1.5 credits and some of the feminist critical approaches the abstract in both African visual art and through which it has been considered. Fulfills Harlem Renaissance. There is in postcolonial Humanities/Cultural Studies distribution African literature, and in many ‘Third World’ Graphic Narratives requirement. Creative Writing Concentration countries, a new narrative art-form which LLC419 course. 3 credits. can be called ‘animist realism.’ It is critically Are you fascinated by the graphic novel (or regarded as contesting the dominant protocol nonfiction)? In this class, we will investigate of conventional (Western) realist narrative which a variety of ways that texts and images Culture/Conflict/Syncretism in is predicated on knowability and linearity. We (specifically illustrations and photographs) African and African-American will also look at how the interface between interact to tell stories: how the visual and Literature oral art (free text) and written art (fixed text) the verbal engage and catalyze each other, LLC441 mediates between fiction and history in this how they can reflect and inflect, reinforce, This course is primarily concerned new form of narrative realism. And there will strengthen and gesture to each other in with the dialectic of multiculturality and be an ample number of videos for visual compelling, powerful and meaningful ways. To multidimensionality. Africans under colonialism, elucidation. Fulfills Humanities/Cultural Studies this end, the class will examine and practice like most of the Third World at one time or the distribution requirement. Creative Writing different methods used in telling both personal other, were confronted with the overwhelming Concentration course. 3 credits. and fictional stories. The course will also involve encroachment of European/Western/Christian working at understanding different ways that ways of life and thought alien to them. Yet graphic narratives have been, and may be, Africa still struggles up till today to preserve theorized. Assignments will include critical its integrity, its intrinsic identity, notably in the responses to our readings and a creative form of neotraditionalism. This vortex of cultural project involving an integration of writing and interplay in Africa has led to socio-cultural Course Catalog Literature, Language, Composition 154

Chinese Poetry LLC477 The purpose of this course is two-fold: first, to determine, through intensive readings in translation from the work of representative poets, what characterizes Chinese poetic achievement and, second to articulate our own informed response to these poems. Primary emphasis will be placed on the lyric mode as it develops from its origins in the Book of Songs (compiled c. 600BCE) through its golden age in the T’ang and Sung dynasties. Continuing attention will be paid to the tension between public and private commitment expressed by poets who choose between, attempt to resolve, or transcend these commitments. Topics for special consideration include the classical Chinese language as a vehicle for poetic expression and Chinese calligraphy as an exercise in dynamic proportions, the technical requirements of two major lyric forms, nature as a source of both inspiration and poetic metaphor, and the didactic and individualist traditions of Chinese literary criticism. Fulfills Humanities/Cultural Studies distribution requirement. Creative Writing Concentration course. 3 credits.

Art of the Personal Essay LLC373W In this workshop course we will work on developing an understanding of the personal essay as a distinct yet flexible nonfictional genre, one possessing its own characteristics and contours that distinguish it from other literary forms. You will also work in this course on the craft of writing and revising your own personal essays. To these ends, we will be reading a number of works that demonstrate the essay’s protean adaptability. Texts will be drawn from Phillip Lopate’s anthology The Art of the Personal Essay, as well as from other sources, including selected blogs, nonfictional texts by visual artists, as well as the online compilation Quotidiana. Creative Writing Concentration course. 3 credits. Course Catalog Literature, Language, Composition 155 Course Catalog Jewelry + Metals 156

Open to graduating Jewelry + Metals majors Jewelry + Metals: Mechanisms Jewelry + Metals and all electives who are seniors.Required of MET251 4th year graduating Jewelry + Metals majors. The course will focus on mechanisms, catches, Offered spring. 1.5 credits. latches, and hinges, for movement and closure Jewelry + Metals: Thesis/ of jewelry and small-scale objects, as well Professional Portfolio as linkage systems, and findings for jewelry. MET093A Jewelry + Metals: Fabrication Technical exercises and finished pieces will The thesis book project was established MET206 be accomplished. Slides, demonstrations and in the Jewelry + Metals department and Emphasis in the studio will be placed on samples will supplement the course. Open to has been required course work since fabrication techniques, from pattern work to Jewelry + Metals majors and all electives. 1965. The development of the thesis book cold connection, soldering on a varied scale 3 credits. allows each major to write about a range of and hollow construction. Students will also experiences from their work, and document work in a small public space (the showcase) Prerequisites: MET249 Introduction to Jewelry + the development of a body of work in text, to explore “exhibition” or “installation.” Metals. Good soldering skills required. photos, and renderings. Each thesis becomes Independent work is encouraged. Visiting part of an important collection that dates artists, field trips, and slide presentations back to the earliest BFA degrees. Essay supplement the class. Open to Jewelry + Jewelry + Metals: subjects are presented to challenge students Metals majors and all electives. Introduction to Advanced Projects to conduct research and examine their own Jewelry + Metals. 3 credits. MET253 position. Discussions and presentations vary The course is designed to examine concepts to recognize the direction of the group. The Prerequisites: MET249 Introduction to and technologies of the field, and pursue work course culminates in creating two copies of the Jewelry + Metals of individual direction. Various advanced studio book - one that stays within the department practices and techniques will supplement as an archival object and teaching tool and the course to challenge conceptual growth, the other acts as a professional portfolio upon Introduction to Jewelry + Metals facilitate design, and present new means of graduation for the individual student. The MET249 fabrication. Subjects are presented to direct first half of a two-semester course. Open to Work in this studio involves the field of jewelry students to conduct research and examine graduating Jewelry + Metals majors and all and metalsmithing, its history, contemporary their own position. The course includes electives who are seniors. Required of 4th issues and activities, and the use and demonstrations and presentations to support year graduating Jewelry + Metals majors. understanding of materials and processes. individual directions. Ongoing discussions and Offered fall. 1.5 credits As a medium, metal presents more variables readings are an integral part of the course. and potential than any other material. It can Open to Jewelry + Metals majors and electives serve to produce sound, light, heat, motion, with instructor’s permission. 3 credits. Jewelry + Metals Thesis to present color, texture, and form, to store MET093B and release energy, and provide strength, and The thesis book project was established durability, all of which increase the options Jewelry + Metals: in the Jewelry + Metals department and in your work. An introduction to the field of Jewelry Concepts has been required course work since Jewelry + Metals includes the foundation MET254 1965. The development of the thesis book techniques and skills necessary to work Why is jewelry worn? How is jewelry worn? This allows each major to write about a range of with non-ferrous metals associated with course will focus on the motivations of why one experiences from their work, and document jewelry, utilitarian and small-scale objects. makes jewelry and how jewelry functions in our the development of a body of work in text, The course includes a rich collection of slide contemporary and other societies. Questioning photos, and renderings. Each thesis becomes presentations, thorough demonstrations, the boundaries of what defines jewelry along part of an important collection that dates technical exercises, assignments, discussion, with the exploration of concepts will guide back to the earliest BFA degrees. Essay and critiques. Throughout the semester we the work. Self initiated projects as well as subjects are presented to challenge students will explore the use of metal as a medium for assignments relating to jewelry concepts will to conduct research and examine their own artistic expression. A strong emphasis will be take place throughout the semester. Readings, position. Discussions and presentations vary placed on your ability to use design principles, research, and dialogue will be an integral part to recognize the direction of the group. The aesthetic considerations, character and of the class. Slides and actual contemporary course culminates in creating two copies of the emotional content, idea and concept to achieve and historic pieces will supplement the course. book - one that stays within the department a visual statement. Required of first semester Open to Jewelry + Metals majors and all as an archival object and teaching tool and Jewelry + Metals majors. Open to all electives. electives. 3 credits. the other acts as a professional portfolio upon Offered fall and spring. 3 credits. graduation for the individual student. The second half of a two-semester course. Course Catalog Jewelry + Metals 157

Jewelry + Metals: Art and Machine activity in the department. Recommended Jewelry + Metals: Forming MET255 as an elective for craft and material culture, and Fabrication An intermediate and advanced level course sculpture, ID, Interior Design, biomedical art, MET259 designed to provide new opportunities and other students with 3D modeling interest. An intermediate and advanced level course to discuss and explore the historical and 3 credits. designed to develop skills in forming non- contemporary roll of tools, machines, and ferrous metal through the various metalsmithing technology in the art and design. New processes of raising, stretching, seaming, technologies and materials provide an exciting Jewelry + Metals: Recycling snarling, crimping, and pitch work used to range of possibilities in models, molds, and and Renovation create volumetric forms for functional and non- parts for jewelry and object making. The MET257 functional objects as well as jewelry. Problems course will address the practices, concepts Relevant in the world today, this course’s focus are presented to challenge all levels of students, and technologies of tool making, machine will explore the concept of recycling as a means recognize the direction of the group and include tool processes, and CAD/CAM + 3D printing. of design development and expression through singular object-driven problems, along with Students develop and apply new skill sets to artwork. Various discarded materials, used discussion of formal and conceptual issues. develop and create work of individual direction. or found objects that have been previously Presentations, visiting artists, slides, and The course includes 3D modeling, rendering, created to serve some other purpose will be actual objects supplement the course. Open to and output to the department’s (2) devices, Reused to create work. Students will also revisit Jewelry + Metals majors and all electives. (CNC - computer numerical control) milling ideas through existing objects within our culture 3 credits. machine and the Solidscape 3D “wax printer”, and re-address an individual’s previous work. as well as the Institute’s FDM (fused deposition Formats of the work in this course may take modeling - “plastic printer”) and service the shape of jewelry, wearables, or objects. Jewelry + Metals: Color bureaus. Readings, essays, and discussion Students must come prepared during the MET260 offer the integrated seminar experience. Visiting semester with found objects, thrift store or flea The use of color in jewelry and metals presents artists, a field trip to a service bureau, and market finds, thrown away materials and be great possibilities. This course will explore a presentations supplement the course. Open to willing to alter them. Research and concept range of approaches to the use of color and Jewelry + Metals majors and all electives. development are part of the weekly dialog. colored materials in the creation of jewelry, 3 credits. Slides and samples will supplement the course. functional objects, and small sculpture. Beyond Demonstrations will be provided as needed. the classic greens and browns, we will develop Open to Jewelry + Metals majors and all and apply chemical patinas to produce a range Jewelry + Metals: Modeling electives. No previous metalworking skills are of effects in colors and patterns. In aluminum, MET256 needed. 3 credits. the electro-chemical process of anodization Modeling explores the changing role of 3D will allow pigment dyes to be deposited in the modeling and 3D printing in art and design. surface of the metal. Plastics will be presented A rapidly expanding range of technologies Jewelry + Metals: Surface to allow for fabrication with stock materials, and materials provides new and exciting MET258 casting of resins and polymers, and laminations. possibilities for models, molds, and parts for This course will explore various techniques Other pigments such as colored-pencils and jewelry and object making. The course will for affecting and embellishing the surface of paints will be covered. Numerous samples and address and apply concepts and technologies non-ferrous metals. Concurrently while finished slides supplement the course. Open to Jewelry of 3D modeling, CAD/CAM + RP (computer works will be accomplished, there will be an + Metals majors and all electives. 3 credits. aided design / computer aided manufacturing / emphasis on technical exercises throughout rapid prototyping), 3D printing, and fabrication the semester. Self directed work along with processes. Through a project-based curriculum, experimentation is encouraged. Slides, videos, Jewelry + Metals: the course will challenge each student to apply demonstrations, samples and actual exemplary Ceremony and Ritual these technologies to create work that remains pieces will supplement the course. Open to MET261 unique to their individual vision. 3D modeling Jewelry + Metals majors and all electives. Do we consider the importance of the objects and rendering with Rhino, and output to the 3 credits. we use in specialized events, ceremonies, or CNC (computer numerical control) milling more wide ranging rituals? How does ritual and machine, Solidscape 3D wax printer, FDM- Prerequisites: MET249 Introduction to ceremony fit into the context of the 21st century fused deposition modeling - “plastic printer”) Jewelry + Metals and in our society? We will explore historic and and printing through service bureaus provide worldwide references to ceremonial and ritual new opportunities in the presentation and objects through the use of slide presentations, creation of new work right here in our studio. videos, and actual works. Objects will be Readings, essays, and discussion offer the created based on individual exploration and integrated seminar experience. Visiting artists, field trips, and presentations supplement the Course Catalog Jewelry + Metals 158

interest relevant to the subject. Additional class will cover research of the marketplace, artists, field trips, and slide presentations independent work will also be required. Open concepts and design, production techniques supplement the class.Open to Jewelry + Metals to Jewelry + Metals majors and all electives. and technologies, presentation, packaging, majors all electives. 3 credits. 3 credits. time management, pricing, and artist/gallery relationships. Pieces will be produced weekly Prerequisites: MET249 Introduction to Jewelry and bi-weekly through short term assignments + Metals. Jewelry + Metals: Settings and following demonstrations. Each student MET262 will fabricate one or more creative and salable This course will examine the subject as well limited production lines. The course will include Jewelry + Metals: as the process of settings. Exploration of preparation for shows and galleries, and Casting and Modeling basic and advanced stone setting procedures participation in the student art sale. Slides, MET267 will occur. The ‘stones’ being set during examples of actual works, visiting artists, and Casting and Modeling is a hybrid course the course of the semester will be precious presentations supplement the class. Open to designed to address the connection of or semi-precious gems, minerals, found or Jewelry + Metals majors an all electives. modeling and casting. As a basic technology handmade objects created from a variety of 3 credits. in the jewelry and metals field, casting materials. Investigations will result in several provides the opportunity to explore complex pieces of jewelry or objects created as they Prerequisites: A minimum of one course in form, surface and texture, dynamic change are addressed by assignments in the class. Jewelry + Metals required. of plane and line, and everything from Affordable gems will be available to purchase. organic to geometric aesthetic. Modeling Demonstrations, samples and a visiting artist ranges from carving, sculpting, fabrication, will supplement the course.Open to majors, Jewelry + Metals: Settings: and direct casting of organic objects and intermediate and advanced electives. 3 credits. Advanced and Basic materials, to CAD models and molds made MET265 in the department through machining and Prerequisites: MET249 Introduction to Jewelry + This course will continue to examine the 3D printing. Students experience three Metals. Good soldering skills required. subject as well as the process of settings by different casting methods: gravity, centrifugal, revisiting some of the basics and learning more and vacuum, all of which provide unique advanced setting techniques such as bead, opportunities to create jewelry, objects, and Jewelry + Metals: reverse, flush, and tension. Those who have not small sculpture. Jewelry and metalworking Alternative Materials taken the first Settings course will pursue the techniques are presented to complement the MET263 basic applications. Investigations will result in current level and experience of the group. The limitless possibilities of materials will be several pieces of jewelry or objects created as Independent work is encouraged. Readings, investigated to create wearable objects. These they are addressed by assignments in the class. essays, and discussion offer the integrated materials will be explored for their conceptual Affordable gems will be available to purchase. seminar experience. Visiting artists, historical potential and the capacity they hold as related Demonstrations, samples and a visiting artist and contemporary examples, field trips, and to design elements for production. Students will will supplement the course. Open to Jewelry + presentations supplement the class. Open to be reinterpreting and remaking materials. Self Metals majors all electives. 3 credits. Jewelry + Metals majors and all electives. initiated as well as assignments relating to the 3 credits. topic will take place throughout the semester. Prerequisites: MET249 Introduction to Jewelry + Reading, research, and critiques will be an Metals and MET262 Jewelry + Metals: Settings integral part of the class. Slides, images, and Adv Projects: Fashion- actual works will supplement the course. Open Jewelry-Accessories to Jewelry + Metals majors an all electives. Jewelry + Metals: Flatware MET267X 3 credits. MET266 Fashion has the power to transcend the The presentation of the Flatware project mundane, to offer new and novel experiences, Prerequisites: A minimum of one course in allows the exploration of utensils for preparing, to transform the wearer, to empower and Jewelry + Metals required. serving and eating food. Emphasis is placed provoke, and to reflect and record the times on function, its related concepts, and use in which we live. As artists and designers we of materials. Independent work is also live in a culture of unprecedented access Jewlry + Metals: Production encouraged. This is an intermediate and to information, new ideas, materials, and MET264 advanced level course designed to challenge technologies. Fashion-Jewelry-Accessories is Jewelry and object production is a multifaceted students’ conceptual and design skills. The designed to focus on the changing landscape and demanding avenue that can be navigated exploration of advanced studio processes will of art and design, where we will examine by many paths. We will explore a range of be encouraged to help facilitate the projects’ history, concepts, design practices, materials production concepts and methods with a focus design and fabrication. Problems are presented and technologies toward fashion jewelry and on wearable jewelry and functional objects. The to challenge all levels of students. Visiting accessories. Varied materials and techniques Course Catalog Jewelry + Metals 159

from self-directed exploration to advanced and other forming methods. Additional facilitate design, and present new means of studio technologies will supplement the course materials and techniques from self-directed fabrication. Subjects are presented to direct to challenge conceptual growth, facilitate applications to advanced studio technologies, students to conduct research and examine design, and present new means of fabrication. including CAD for pattern making and design, their own position. The course includes “Challenges” are presented to afford students will supplement the course to provide new demonstrations and presentations to support the opportunity to conduct research and challenges, facilitate design, and present individual directions. Ongoing discussions and explore their own directions. Readings, essays, new means of fabrication. Readings, essays, readings are an integral part of the course. and discussion offer the integrated seminar and discussion offer the integrated seminar Open to Jewelry + Metals majors and electives experience. The course includes visiting artists/ experience. Projects vary to recognize the with instructor’s permission. 3 credits. designers, a field trip, presentations, and direction of the group and include singular demonstrations to support individual directions. object-driven problems, formal issues, and Open to Jewelry + Metals majors and all conceptual challenges. Jewelry + Metals: electives. 3 credits. Jewelry Concepts MET354 Jewelry + Metals: Fabrication Why is jewelry worn? How is jewelry worn? This Jewelry + Metals: Casting MET306 course will focus on the motivations of why one MET268 Emphasis in the studio will be placed on makes jewelry and how jewelry functions in our As a basic technology in the jewelry and fabrication techniques, from pattern work to contemporary and other societies. Questioning metals field, casting provides the opportunity cold connection, soldering on a varied scale the boundaries of what defines jewelry along to explore complex and dynamic form, surface and hollow construction. Students will also with the exploration of concepts will guide and texture, the organic and geometric work in a small public space (the showcase) the work. Self initiated projects as well as language. Technologies and materials from to explore “exhibition” or “installation.” assignments relating to jewelry concepts will ancient to the cutting edge provide new Independent work is encouraged. Visiting take place throughout the semester. Readings, and exciting possibilities for models, molds, artists, field trips, and slide presentations research, and dialogue will be an integral part parts. The course will address concepts and supplement the class. Open to Jewelry + of the class. Slides and actual contemporary technologies of basic waxwork and model Metals majors and all electives. 3 credits. and historic pieces will supplement the course. making, CAD/CAM, and casting processes to Open to Jewelry + Metals majors and challenge students to apply new techniques Prerequisites: MET249 Introduction to Jewelry all electives. 3 credits. and technologies to create work that remains + Metals unique to their direction. From fundamental wax carving and found objects to 3D modeling Jewelry + Metals: Art and Machine and output to the Solidscape™ 3D wax printer Jewelry + Metals: Mechanisms MET355 and the CNC milling machine, the course will MET351 An intermediate and advanced level course cultivate new skills and opportunities for the The course will focus on mechanisms, catches, designed to provide new opportunities creation of new work. Vacuum, centrifugal, latches, and hinges, for movement and closure to discuss and explore the historical and gravity, and rubber mold casting are addressed of jewelry and small-scale objects, as well contemporary roll of tools, machines, and to provide a range of opportunities for tangible as linkage systems, and findings for jewelry. technology in the art and design. New objects. A wide variety of metals, plastic Technical exercises and finished pieces will technologies and materials provide an exciting resins, and rubber provide endless possibilities. be accomplished. Slides, demonstrations and range of possibilities in models, molds, and Readings, essays, and discussion offer the samples will supplement the course. Open to parts for jewelry and object making. The integrated seminar experience. Visiting artists, Jewelry + Metals majors and all electives. course will address the practices, concepts field trips, and presentations will supplement 3 credits. and technologies of tool making, machine the activity in the department. Open to Jewelry tool processes, and CAD/CAM + 3D printing. + Metals majors and all electives. 3 credits. Prerequisites: MET249 Introduction to Jewelry + Students develop and apply new skill sets to Metals. Good soldering skills required. develop and create work of individual direction. The course includes 3D modeling, rendering, Jewelry + Metals: Pewter and output to the department’s (2) devices, MET270 Jewelry + Metals: (CNC - computer numerical control) milling Pewter is a material that lies somewhere Advanced Projects machine and the Solidscape 3D “wax printer”, between metal and clay. It is an extremely MET353 as well as the Institute’s FDM (fused deposition versatile metal, beautiful for functional objects, The course is designed to examine concepts modeling - “plastic printer”) and service jewelry, and sculpture. Pewter affords a and technologies of the field, and pursue work bureaus. Readings, essays, and discussion dynamic, intuitive, and direct work in the of individual direction. Various advanced studio offer the integrated seminar experience. Visiting material. The course includes pattern making, practices and techniques will supplement fabrication, casting, slumping, forging, spinning, the course to challenge conceptual growth, Course Catalog Jewelry + Metals 160

artists, a field trip to a service bureau, and semester with found objects, thrift store or flea functional objects, and small sculpture. Beyond presentations supplement the course. Open to market finds, thrown away materials and be the classic greens and browns, we will develop Jewelry + Metals majors and all electives. willing to alter them. Research and concept and apply chemical patinas to produce a range 3 credits. development are part of the weekly dialog. of effects in colors and patterns. In aluminum, Slides and samples will supplement the course. the electro-chemical process of anodization Jewelry + Metals: Modeling Demonstrations will be provided as needed. will allow pigment dyes to be deposited in the MET356 Open to Jewelry + Metals majors and all surface of the metal. Plastics will be presented Modeling explores the changing role of 3D electives. No previous metalworking skills to allow for fabrication with stock materials, modeling and 3D printing in art and design. are needed. 3 credits. casting of resins and polymers, and laminations. A rapidly expanding range of technologies Other pigments such as colored-pencils and and materials provides new and exciting paints will be covered. Numerous samples and possibilities for models, molds, and parts for Jewelry + Metals: Surface slides supplement the course. Open to Jewelry jewelry and object making. The course will MET358 + Metals majors and all electives. 3 credits. address and apply concepts and technologies This course will explore various techniques of 3D modeling, CAD/CAM + RP (computer for affecting and embellishing the surface of Prerequisites: MET249 Introduction to Jewelry aided design / computer aided manufacturing / non-ferrous metals. Concurrently while finished + Metals rapid prototyping), 3D printing, and fabrication works will be accomplished, there will be an processes. Through a project-based curriculum, emphasis on technical exercises throughout the course will challenge each student to apply the semester. Self directed work along with Jewelry + Metals: these technologies to create work that remains experimentation is encouraged. Slides, videos, Ceremony and Ritual unique to their individual vision. 3D modeling demonstrations, samples and actual exemplary MET361 and rendering with Rhino, and output to the pieces will supplement the course. Open to Do we consider the importance of the objects CNC (computer numerical control) milling Jewelry + Metals majors and all electives. we use in specialized events, ceremonies, or machine, Solidscape 3D wax printer, FDM- 3 credits. more wide ranging rituals? How does ritual and fused deposition modeling - “plastic printer”) ceremony fit into the context of the 21st century and printing through service bureaus provide Prerequisites: MET249 Introduction to Jewelry and in our society? We will explore historic and new opportunities in the presentation and + Metals worldwide references to ceremonial and ritual creation of new work right here in our studio. objects through the use of slide presentations, Readings, essays, and discussion offer the videos, and actual works. Objects will be integrated seminar experience. Visiting artists, Jewelry + Metals: Forming created based on individual exploration and field trips, and presentations supplement the and Fabrication interest relevant to the subject. Additional activity in the department. Recommended MET359 independent work will also be required. Open as an elective for craft and material culture, An intermediate and advanced level course to Jewelry + Metals majors and all electives. sculpture, ID, Interior Design, biomedical art, designed to develop skills in forming non- 3 credits. and other students with 3D modeling interest. ferrous metal through the various metalsmithing 3 credits. processes of raising, stretching, seaming, snarling, crimping, and pitch work used to Jewel Metal Settings create volumetric forms for functional and non- MET362 Jewelry + Metals: Recycling functional objects as well as jewelry. Problems This course will examine the subject as well and Renovation are presented to challenge all levels of students, as the process of settings. Exploration of MET357 recognize the direction of the group and include basic and advanced stone setting procedures Relevant in the world today, this course’s focus singular object-driven problems, along with will occur. The ‘stones’ being set during will explore the concept of recycling as a means discussion of formal and conceptual issues. the course of the semester will be precious of design development and expression through Presentations, visiting artists, slides, and or semi-precious gems, minerals, found or artwork. Various discarded materials, used actual objects supplement the course. Open to handmade objects created from a variety of or found objects that have been previously Jewelry + Metals majors and all electives. materials. Investigations will result in several created to serve some other purpose will be 3 credits. pieces of jewelry or objects created as they Reused to create work. Students will also revisit are addressed by assignments in the class. ideas through existing objects within our culture Affordable gems will be available to purchase. and re-address an individual’s previous work. Jewelry + Metals: Color Demonstrations, samples and a visiting artist Formats of the work in this course may take MET360 will supplement the course.Open to majors, the shape of jewelry, wearables, or objects. The use of color in jewelry and metals presents Students must come prepared during the great possibilities. This course will explore a range of approaches to the use of color and colored materials in the creation of jewelry, Course Catalog Jewelry + Metals 161

intermediate and advanced electives. 3 credits. MET365 in the department through machining and This course will continue to examine the 3D printing. Students experience three Prerequisites: MET249 Introduction to Jewelry + subject as well as the process of settings by different casting methods: gravity, centrifugal, Metals. Good soldering skills required. revisiting some of the basics and learning more and vacuum, all of which provide unique advanced setting techniques such as bead, opportunities to create jewelry, objects, and Jewelry + Metals: Alternative reverse, flush, and tension. Those who have not small sculpture. Jewelry and metalworking Materials taken the first Settings course will pursue the techniques are presented to complement the MET363 basic applications. Investigations will result in current level and experience of the group. The limitless possibilities of materials will be several pieces of jewelry or objects created as Independent work is encouraged. Readings, investigated to create wearable objects. These they are addressed by assignments in the class. essays, and discussion offer the integrated materials will be explored for their conceptual Affordable gems will be available to purchase. seminar experience. Visiting artists, historical potential and the capacity they hold as related Demonstrations, samples and a visiting artist and contemporary examples, field trips, and to design elements for production. Students will will supplement the course. Open to Jewelry + presentations supplement the class. Open to be reinterpreting and remaking materials. Self Metals majors all electives. 3 credits. Jewelry + Metals majors and all electives. initiated as well as assignments relating to the 3 credits. topic will take place throughout the semester. Prerequisites: MET249 Introduction to Jewelry + Reading, research, and critiques will be an Metals and MET262 Jewelry + Metals: Settings integral part of the class. Slides, images, and Advanced Projects: Fashion- actual works will supplement the course. Open Jewelry-Accessories to Jewelry + Metals majors and all electives. Jewelry + Metals: Flatware MET367X 3 credits. MET366 Fashion has the power to transcend the The presentation of the Flatware project mundane, to offer new and novel experiences, Prerequisites: A minimum of one course in allows the exploration of utensils for preparing, to transform the wearer, to empower and Jewelry + Metals required. serving and eating food. Emphasis is placed provoke, and to reflect and record the times on function, its related concepts, and use in which we live. As artists and designers we of materials. Independent work is also live in a culture of unprecedented access Jewelry + Metals: Production encouraged. This is an intermediate and to information, new ideas, materials, and MET364 advanced level course designed to challenge technologies. Fashion-Jewelry-Accessories is Jewelry and object production is a multifaceted students’ conceptual and design skills. The designed to focus on the changing landscape and demanding avenue that can be navigated exploration of advanced studio processes will of art and design, where we will examine by many paths. We will explore a range of be encouraged to help facilitate the projects’ history, concepts, design practices, materials production concepts and methods with a focus design and fabrication. Problems are presented and technologies toward fashion jewelry and on wearable jewelry and functional objects. The to challenge all levels of students. Visiting accessories. Varied materials and techniques class will cover research of the marketplace, artists, field trips, and slide presentations from self-directed exploration to advanced concepts and design, production techniques supplement the class.Open to Jewelry + Metals studio technologies will supplement the course and technologies, presentation, packaging, majors all electives. 3 credits. to challenge conceptual growth, facilitate time management, pricing, and artist/gallery design, and present new means of fabrication. relationships. Pieces will be produced weekly Prerequisites: MET249 Introduction “Challenges” are presented to afford students and bi-weekly through short term assignments to Jewelry + Metals. the opportunity to conduct research and and following demonstrations. Each student explore their own directions. Readings, essays, will fabricate one or more creative and salable and discussion offer the integrated seminar limited production lines. The course will include Jewelry + Metals: Casting experience. The course includes visiting artists/ preparation for shows and galleries, and and Modeling designers, a field trip, presentations, and participation in the student art sale. Slides, MET367 demonstrations to support individual directions. examples of actual works, visiting artists, and Casting and Modeling is a hybrid course Open to Jewelry + Metals majors and presentations supplement the class. Open to designed to address the connection of all electives. 3 credits. Jewelry + Metals majors an all electives. modeling and casting. As a basic technology 3 credits. in the jewelry and metals field, casting provides the opportunity to explore complex Jewelry + Metals: Casting Prerequisites: A minimum of one course in form, surface and texture, dynamic change MET368 Jewelry + Metals required. of plane and line, and everything from As a basic technology in the jewelry and organic to geometric aesthetic. Modeling metals field, casting provides the opportunity ranges from carving, sculpting, fabrication, to explore complex and dynamic form, surface Jewelry + Metals: Settings: and direct casting of organic objects and and texture, the organic and geometric Advanced and Basic materials, to CAD models and molds made language. Technologies and materials from Course Catalog Jewelry + Metals 162

ancient to the cutting edge provide new Technical exercises and finished pieces will and exciting possibilities for models, molds, Jewelry + Metals: Fabrication be accomplished. Slides, demonstrations and parts. The course will address concepts and MET406 samples will supplement the course. Open to technologies of basic waxwork and model Emphasis in the studio will be placed on Jewelry + Metals majors and all electives. making, CAD/CAM, and casting processes to fabrication techniques, from pattern work to 3 credits. challenge students to apply new techniques cold connection, soldering on a varied scale and technologies to create work that remains and hollow construction. Students will also Prerequisites: MET249 Introduction to Jewelry + unique to their direction. From fundamental work in a small public space (the showcase) Metals. Good soldering skills required. wax carving and found objects to 3D modeling to explore “exhibition” or “installation.” and output to the Solidscape™ 3D wax printer Independent work is encouraged. Visiting and the CNC milling machine, the course will artists, field trips, and slide presentations Jewelry + Metals: Advanced cultivate new skills and opportunities for the supplement the class. Open to Jewelry + Projects creation of new work. Vacuum, centrifugal, Metals majors and all electives. 3 credits. MET453 gravity, and rubber mold casting are addressed The course is designed to examine concepts to provide a range of opportunities for tangible Prerequisites: MET249 Introduction to Jewelry and technologies of the field, and pursue work objects. A wide variety of metals, plastic + Metals of individual direction. Various advanced studio resins, and rubber provide endless possibilities. practices and techniques will supplement Readings, essays, and discussion offer the the course to challenge conceptual growth, integrated seminar experience. Visiting artists, Jewelry + Metals: BFA facilitate design, and present new means of field trips, and presentations will supplement State/Exhibition fabrication. Subjects are presented to direct the activity in the department. Open to Jewelry MET450M students to conduct research and examine + Metals majors and all electives. 3 credits. The seminar is designed to focus on the their own position. The course includes changing landscape of art, where we will demonstrations and presentations to support examine concepts and technologies of the individual directions. Ongoing discussions and Jewelry + Metals: Pewter field, and pursue work of individual direction. readings are an integral part of the course. MET370 Advanced studio technologies and computer Open to Jewelry + Metals majors and electives Pewter is a material that lies somewhere applications will supplement the course with instructor’s permission. 3 credits. between metal and clay. It is an extremely to challenge conceptual growth, facilitate versatile metal, beautiful for functional objects, design, and present new means of fabrication. jewelry, and sculpture. Pewter affords a Subjects are presented to challenge students Jewelry + Metals: Jewelry dynamic, intuitive, and direct work in the to conduct research and examine their own Concepts material. The course includes pattern making, position. Discussions and presentations vary MET454 fabrication, casting, slumping, forging, spinning, to recognize the direction of the group and Why is jewelry worn? How is jewelry worn? This and other forming methods. Additional include singular object-driven problems, formal course will focus on the motivations of why one materials and techniques from self-directed issues, and conceptual challenges. The course makes jewelry and how jewelry functions in our applications to advanced studio technologies, includes larger group discussion with all majors, contemporary and other societies. Questioning including CAD for pattern making and design, demonstrations to support individual directions, the boundaries of what defines jewelry along will supplement the course to provide new visiting artists, field trips and presentations. The with the exploration of concepts will guide challenges, facilitate design, and present completion of work and preparation for the the work. Self initiated projects as well as new means of fabrication. Readings, essays, presentation of the BFA Exhibition will take assignments relating to jewelry concepts will and discussion offer the integrated seminar place. Required of 4th year graduating Jewelry take place throughout the semester. Readings, experience. Projects vary to recognize the + Metals majors. 3 credits. research, and dialogue will be an integral part direction of the group and include singular of the class. Slides and actual contemporary object-driven problems, formal issues, and and historic pieces will supplement the course. conceptual challenges. Jewelry + Metals: Mechanisms Open to Jewelry + Metals majors and all MET451 electives. 3 credits. The course will focus on mechanisms, catches, Metals: Internship latches, and hinges, for movement and closure MET399 of jewelry and small-scale objects, as well Jewelry + Metals: Art and Machine Majors are encouraged to have an internship in as linkage systems, and findings for jewelry. MET455 the jewelry, metals, and related fields and carry An intermediate and advanced level course up to 3 elective credits. Majors have interned designed to provide new opportunities with Liz Claiborne, Kraftmaid, Nine West, to discuss and explore the historical and Heather B. Moore, and others. contemporary roll of tools, machines, and technology in the art and design. New Course Catalog Jewelry + Metals 163

technologies and materials provide an exciting Jewelry + Metals: Recycling and functional objects as well as jewelry. Problems range of possibilities in models, molds, and Renovation are presented to challenge all levels of students, parts for jewelry and object making. The MET457 recognize the direction of the group and include course will address the practices, concepts Relevant in the world today, this course’s focus singular object-driven problems, along with and technologies of tool making, machine will explore the concept of recycling as a means discussion of formal and conceptual issues. tool processes, and CAD/CAM + 3D printing. of design development and expression through Presentations, visiting artists, slides, and Students develop and apply new skill sets to artwork. Various discarded materials, used actual objects supplement the course. Open to develop and create work of individual direction. or found objects that have been previously Jewelry + Metals majors and all electives. The course includes 3D modeling, rendering, created to serve some other purpose will be 3 credits. and output to the department’s (2) devices, Reused to create work. Students will also (CNC - computer numerical control) milling revisit ideas through existing objects within our machine and the Solidscape 3D “wax printer”, culture and re-address an individual’s previous Jewelry + Metals: Color as well as the Institute’s FDM (fused deposition work. Formats of the work in this course MET460 modeling - “plastic printer”) and service may take the shape of jewelry, wearables, or The use of color in jewelry and metals presents bureaus. Readings, essays, and discussion objects. Students must come prepared during great possibilities. This course will explore a offer the integrated seminar experience. Visiting the semester with found objects, thrift store range of approaches to the use of color and artists, a field trip to a service bureau, and or flea market finds, thrown away materials colored materials in the creation of jewelry, presentations supplement the course. Open to and be willing to alter them. Research and functional objects, and small sculpture. Beyond Jewelry + Metals majors and all electives. concept development are part of the weekly the classic greens and browns, we will develop 3 credits. dialog. Slides and samples will supplement the and apply chemical patinas to produce a range course. Demonstrations will be provided as of effects in colors and patterns. In aluminum, needed. Open to Jewelry + Metals majors and the electro-chemical process of anodization Jewelry + Metals: Modeling all electives.No previous metalworking skills will allow pigment dyes to be deposited in the MET456 are needed. 3 credits. surface of the metal. Plastics will be presented Modeling explores the changing role of 3D to allow for fabrication with stock materials, modeling and 3D printing in art and design. casting of resins and polymers, and laminations. A rapidly expanding range of technologies Jewelry + Metals: Surface Other pigments such as colored-pencils and and materials provides new and exciting MET458 paints will be covered. Numerous samples and possibilities for models, molds, and parts for This course will explore various techniques slides supplement the course. Open to Jewelry jewelry and object making. The course will for affecting and embellishing the surface of + Metals majors and all electives. 3 credits. address and apply concepts and technologies non-ferrous metals. Concurrently while finished of 3D modeling, CAD/CAM + RP (computer works will be accomplished, there will be an Prerequisites: MET249 Introduction to Jewelry aided design / computer aided manufacturing / emphasis on technical exercises throughout + Metals rapid prototyping), 3D printing, and fabrication the semester. Self directed work along with processes. Through a project-based curriculum, experimentation is encouraged. Slides, videos, the course will challenge each student to apply demonstrations, samples and actual exemplary Jewelry + Metals: these technologies to create work that remains pieces will supplement the course. Open to Ceremony and Ritual unique to their individual vision. 3D modeling Jewelry + Metals majors and all electives. MET461 and rendering with Rhino, and output to the 3 credits. Do we consider the importance of the objects CNC (computer numerical control) milling we use in specialized events, ceremonies, or machine, Solidscape 3D wax printer, FDM- Prerequisites: MET249 Introduction to Jewelry more wide ranging rituals? How does ritual and fused deposition modeling - “plastic printer”) + Metals ceremony fit into the context of the 21st century and printing through service bureaus provide and in our society? We will explore historic and new opportunities in the presentation and worldwide references to ceremonial and ritual creation of new work right here in our studio. Jewelry + Metals: Forming objects through the use of slide presentations, Readings, essays, and discussion offer the and Fabrication videos, and actual works. Objects will be integrated seminar experience. Visiting artists, MET459 created based on individual exploration and field trips, and presentations supplement the An intermediate and advanced level course interest relevant to the subject. Additional activity in the department. Recommended designed to develop skills in forming non- independent work will also be required. Open as an elective for craft and material culture, ferrous metal through the various metalsmithing to Jewelry + Metals majors and all electives. sculpture, ID, Interior Design, biomedical art, processes of raising, stretching, seaming, 3 credits. and other students with 3D modeling interest. snarling, crimping, and pitch work used to 3 credits. create volumetric forms for functional and non- Course Catalog Jewelry + Metals 164

Jewel Metal Settings and bi-weekly through short term assignments artists, field trips, and slide presentations MET462 and following demonstrations. Each student supplement the class. Open to Jewelry + This course will examine the subject as well will fabricate one or more creative and salable Metals majors all electives. 3 credits. as the process of settings. Exploration of limited production lines. The course will include basic and advanced stone setting procedures preparation for shows and galleries, and Prerequisites: MET249 Introduction to Jewelry will occur. The ‘stones’ being set during participation in the student art sale. Slides, + Metals. the course of the semester will be precious examples of actual works, visiting artists, and or semi-precious gems, minerals, found or presentations supplement the class. Open to handmade objects created from a variety of Jewelry + Metals majors an all electives. Jewelry + Metals: Casting materials. Investigations will result in several 3 credits. and Modeling pieces of jewelry or objects created as they MET467 are addressed by assignments in the class. Prerequisites: A minimum of one course in Casting and Modeling is a hybrid course Affordable gems will be available to purchase. Jewelry + Metals required. designed to address the connection of Demonstrations, samples and a visiting artist modeling and casting. As a basic technology will supplement the course.Open to majors, in the jewelry and metals field, casting intermediate and advanced electives. . Jewelry + Metals: Settings: provides the opportunity to explore complex 3 credits. Advanced and Basic form, surface and texture, dynamic change MET465 of plane and line, and everything from Prerequisites: MET249 Introduction to Jewelry + This course will continue to examine the organic to geometric aesthetic. Modeling Metals. Good soldering skills required. subject as well as the process of settings by ranges from carving, sculpting, fabrication, revisiting some of the basics and learning more and direct casting of organic objects and advanced setting techniques such as bead, materials, to CAD models and molds made Jewelry + Metals: reverse, flush, and tension. Those who have not in the department through machining and Alternative Materials taken the first Settings course will pursue the 3D printing. Students experience three MET463 basic applications. Investigations will result in different casting methods: gravity, centrifugal, The limitless possibilities of materials will be several pieces of jewelry or objects created as and vacuum, all of which provide unique investigated to create wearable objects. These they are addressed by assignments in the class. opportunities to create jewelry, objects, and materials will be explored for their conceptual Affordable gems will be available to purchase. small sculpture. Jewelry and metalworking potential and the capacity they hold as related Demonstrations, samples and a visiting artist techniques are presented to complement the to design elements for production. Students will will supplement the course. Open to Jewelry + current level and experience of the group. be reinterpreting and remaking materials. Self Metals majors all electives. 3 credits. Independent work is encouraged. Readings, initiated as well as assignments relating to the essays, and discussion offer the integrated topic will take place throughout the semester. Prerequisites: MET249 Introduction to Jewelry + seminar experience. Visiting artists, historical Reading, research, and critiques will be an Metals and MET262 Jewelry + Metals: Settings and contemporary examples, field trips, and integral part of the class. Slides, images, and presentations supplement the class. Open to actual works will supplement the course. Open Jewelry + Metals majors and all electives. to Jewelry + Metals majors an all electives. Jewelry + Metals: Flatware 3 credits. 3 credits. MET466 The presentation of the Flatware project Prerequisites: A minimum of one course in allows the exploration of utensils for preparing, Adv Projects: Fashion Jewelry + Metals required. serving and eating food. Emphasis is placed -Jewelry-Accessories on function, its related concepts, and use MET467X of materials. Independent work is also Fashion has the power to transcend the Jewelry + Metals: Production encouraged. This is an intermediate and mundane, to offer new and novel experiences, MET464 advanced level course designed to challenge to transform the wearer, to empower and Jewelry and object production is a multifaceted students’ conceptual and design skills. The provoke, and to reflect and record the times and demanding avenue that can be navigated exploration of advanced studio processes will in which we live. As artists and designers we by many paths. We will explore a range of be encouraged to help facilitate the projects’ live in a culture of unprecedented access production concepts and methods with a focus design and fabrication. Problems are presented to information, new ideas, materials, and on wearable jewelry and functional objects. The to challenge all levels of students. Visiting technologies. Fashion-Jewelry-Accessories is class will cover research of the marketplace, designed to focus on the changing landscape concepts and design, production techniques of art and design, where we will examine and technologies, presentation, packaging, history, concepts, design practices, materials time management, pricing, and artist/gallery and technologies toward fashion jewelry and relationships. Pieces will be produced weekly accessories. Varied materials and techniques Course Catalog Jewelry + Metals 165

from self-directed exploration to advanced and other forming methods. Additional studio technologies will supplement the course materials and techniques from self-directed to challenge conceptual growth, facilitate applications to advanced studio technologies, design, and present new means of fabrication. including CAD for pattern making and design, “Challenges” are presented to afford students will supplement the course to provide new the opportunity to conduct research and challenges, facilitate design, and present explore their own directions. Readings, essays, new means of fabrication. Readings, essays, and discussion offer the integrated seminar and discussion offer the integrated seminar experience. The course includes visiting artists/ experience. Projects vary to recognize the designers, a field trip, presentations, and direction of the group and include singular demonstrations to support individual directions. object-driven problems, formal issues, and Open to Jewelry + Metals majors and conceptual challenges. all electives. 3 credits.

Metals: Internship Jewelry + Metals: Casting MET499 MET468 Majors are encouraged to have an internship in As a basic technology in the jewelry and the jewelry, metals, and related fields and carry metals field, casting provides the opportunity up to 3 elective credits. Majors have interned to explore complex and dynamic form, surface with Liz Claiborne, Kraftmaid, Nine West, and texture, the organic and geometric Heather B. Moore, and others. language. Technologies and materials from ancient to the cutting edge provide new and exciting possibilities for models, molds, parts. The course will address concepts and technologies of basic waxwork and model making, CAD/CAM, and casting processes to challenge students to apply new techniques and technologies to create work that remains unique to their direction. From fundamental wax carving and found objects to 3D modeling and output to the Solidscape™ 3D wax printer and the CNC milling machine, the course will cultivate new skills and opportunities for the creation of new work. Vacuum, centrifugal, gravity, and rubber mold casting are addressed to provide a range of opportunities for tangible objects. A wide variety of metals, plastic resins, and rubber provide endless possibilities. Readings, essays, and discussion offer the integrated seminar experience. Visiting artists, field trips, and presentations will supplement the activity in the department. Open to Jewelry + Metals majors and all electives. 3 credits.

Jewelry + Metals: Pewter MET470 Pewter is a material that lies somewhere between metal and clay. It is an extremely versatile metal, beautiful for functional objects, jewelry, and sculpture. Pewter affords a dynamic, intuitive, and direct work in the material. The course includes pattern making, fabrication, casting, slumping, forging, spinning, Course Catalog Printmaking 166

Notes: Open to all students as an introductory The Artist Book Now: Printmaking level course. Encouraged for Second and Third Narrative and Form year students with a drawing emphasis as an PRI232 Elective Studio. Required for Second Year Print This studio course is for students interested Intro Printmaking: Image Majors. Offered spring. 3 credits. in producing sequentially developed imagery Construct I: Line and Sequence via linear book structures. Historical examples PRI200 and contemporary developments regarding Printmaking grows out of an experimental Collaboration Through the evolution of the artist book are examined approach to image construction closely aligned a Printed Experience through texts, through the use of our library’s to both the kinetic practice of drawing and PRI210 artist book collection, in discussion, and during the mechanical possibilities inherent in the Collaboration is defined by the interaction critiques. Due to technological advancements crafting of a matrix for reproduction. Students of two or more people. This studio course over the last century artists now have a variety participating in this course will interrogate supports the student in the development of of media with which to explore output of book what defines a “print,” using line and sequence a body of work while offering an opportunity projects. The class will expose students to the as the visual language allowing introspection to experience collaboration by bringing nature and potential of different book structures and clarification of ideological concepts. together idea generation, image making and as well as a variety of materials. The course Course exploration includes intaglio and relief production. Through a series of projects will heighten the student’s ability to utilize the processes, an introduction to the history students will use a variety of traditional interaction of sequenced content -- the act of of the field, printing of a matrix supporting and experimental processes to define the turning pages-- to express the continuity of an discoveries of the limited edition and narrative parameters of collaboration. Moving beyond idea flowing through a continuum. Students aspects of multiple impressions. The body of the opening platform, students will redefine realize the potential of narrative, sequence, work students produce in this course will be collaboration as they develop projects informed and pacing, together with the importance informed by the history of printmaking, the by course objectives through the inclusion of of combining word and image. Note: Open critical dialogue surrounding contemporary art their personal aspirations. (Collaboration could Elective. Required for Fourth Year Print Majors. and print media in particular, and should reveal suggest projects between students, artist 3 credits. students’ development of skill and sensitivity and author, student and faculty, student and to the printed impression quality visually individual in the community, etc.) Note: This articulating the individual’s aesthetic voice. course is open to all, and fulfills an introductory, Propaganda: Media, Note: Open to all students as an introductory intermediate and advanced level elective Dissemination, Technique level course. Encouraged for Second and Third course. 3 credits. PRI240 year students with a drawing emphasis as an From punk bands to political rallies, different Elective Studio. Required for Second Year Print techniques have been used to create attention- Majors. Offered fall. 3 credits. Printmaking: The Artist’s Book grabbing graphics. Through a variety of Now: Artist Book As Image projects in this course, students will explore PRI231 a range of techniques including approaches Intro Printmaking: Image This studio course focuses on boundaries of to screen-printing from simple stencil making Construct’n II: Color/Form book form, emphasis on image and concept, methods; direct drawing on the screens; to a PRI201 and selection of appropriate form [output] variety of ways to use photo emulsion, including Drawing is what connects all of the art and to content. Students will be encouraged to the integration of digital imaging software. The design fields together; it is the oldest of all arts. view the book as a conceptual space. Deeper emphasis of this class is the development of Using printmaking to expand drawing practices development of sequencing and narrative rich personal imagery and the relationship will be the challenge of this course. From mark in traditional and nontraditional formats. of form working with content to effectively making to multiple layered prints, this course Forms covered on individual project basis communicate ideas. This course is for students will challenge image building to address form as dictated by idea/concept for appropriate from all levels and majors. Notes: Open Elective. and color generating multiple and unique output/manifestation. Considerations include Encouraged for Third/Fourth year students as impressions. This lithography and experimental sculptural, installation, digital output, etc. an Elective Studio. Required for Fourth Year studio enables the student to develop a body Examples and contemporary developments Print Majors. 3 credits. of work while meeting the technical and regarding the evolution of the artist book conceptual challenges of the lithographic are examined through texts, through the process. Students build matrices through use of our library’s artist book collection, in drawing, painting, stencils, toner transfers discussion, and during critiques. Notes: This and digital files, on stone, aluminum plates course is open to all, and fulfills an introductory, and polyester pates. This allows the student intermediate and advanced level elective to work with a variety of process that can be course. 3 credits. intertwined to create multiply possibilities. Course Catalog Printmaking 167

Expanded Print: New Media understand print media within a contemporary The Artist Book Now: and Imaging framework. Note: Open elective. Encouraged Narrative and Form PRI276 for third and fourth year students with a PRI332 This intermediate/advanced studio course painting and drawing emphasis as an Elective This studio course is for students interested offers an exploration in printmaking, Studio. Required for Third Year Print Majors. in producing sequentially developed imagery considering the digital matrix for computer 3 credits. via linear book structures. Historical examples aided and hand pulled prints through and contemporary developments regarding processes redefined in the digital age, the evolution of the artist book are examined scrutinizing decisions for information in and Collaboration Through through texts, through the use of our library’s information out, and the relationship to those a Printed Experience artist book collection, in discussion, and during decisions. Students will be challenged to work PRI310 critiques. Due to technological advancements in the territory of digital media in relationship to Collaboration is defined by the interaction over the last century artists now have a variety and combination with traditional print medium. of two or more people. This studio course of media with which to explore output of book Students have the opportunity to create files supports the student in the development of projects. The class will expose students to the for output which are hand drawn, digitally a body of work while offering an opportunity nature and potential of different book structures generated, of a photographic nature, or a to experience collaboration by bringing as well as a variety of materials. The course combination of all three. Topics include; transfer together idea generation, image making and will heighten the student’s ability to utilize the methods, digital production of plates, color production. Through a series of projects interaction of sequenced content -- the act of management for a wide-format digital printer, students will use a variety of traditional turning pages-- to express the continuity of an photolithography and exploration of media and experimental processes to define the idea flowing through a continuum. Students choices to project ideas. Technical and critical parameters of collaboration. Moving beyond realize the potential of narrative, sequence, discussion in this course will be informed by the opening platform, students will redefine and pacing, together with the importance the presentation of processes that have been collaboration as they develop projects informed of combining word and image. Note: Open developed over the past few decades, and by course objectives through the inclusion of Elective. Required for Fourth Year Print Majors. how these developments relate and affect print their personal aspirations. (Collaboration could 3 credits. culture today. Note: Open Elective. Encouraged suggest projects between students, artist for Third/Fourth year students as an elective and author, student and faculty, student and studio. Required for Third Year Print Majors . individual in the community, etc.) Note: This Expanded Print: New Media 3 credits. course is open to all, and fulfills an introductory, and Imaging intermediate and advanced level elective PRI376 course. 3 credits. This intermediate/advanced studio course The Liberated Print: offers an exploration in printmaking, Investigation of considering the digital matrix for computer Alternative Methods Printmaking: The Artist’s Book aided and hand pulled prints through PRI277 Now: Artist Book As Image processes redefined in the digital age, This course creates a context for students to PRI331 scrutinizing decisions for information in and negotiate the challenging and complex issues This studio course focuses on boundaries of information out, and the relationship to those embedded in the making of contemporary book form, emphasis on image and concept, decisions. Students will be challenged to work printed images. Projects and techniques and selection of appropriate form [output] in the territory of digital media in relationship to complement and extend methods of traditional to content. Students will be encouraged to and combination with traditional print medium. processes, allowing students room to invent, view the book as a conceptual space. Deeper Students have the opportunity to create files arrange, analyze and create connections development of sequencing and narrative for output which are hand drawn, digitally through more immediate printmaking methods in traditional and nontraditional formats. generated, of a photographic nature, or a to their major fields of study. This class will Forms covered on individual project basis combination of all three. Topics include; transfer concentrate on the intuitive, spontaneous as dictated by idea/concept for appropriate methods, digital production of plates, color and fluid approaches in printmaking such output/manifestation. Considerations include management for a wide-format digital printer, as; monoprint, collagraph, transfer drawing, sculptural, installation, digital output, etc. photolithography and exploration of media Xerox litho, and wood intaglio, instigating the Examples and contemporary developments choices to project ideas. Technical and critical dialog between the limited edition vs. singular regarding the evolution of the artist book discussion in this course will be informed by print, and the original vs. a copy. We will are examined through texts, through the the presentation of processes that have been consider formats that bridge other disciplines use of our library’s artist book collection, in developed over the past few decades, and working with color, installation and three- discussion, and during critiques. Notes: This how these developments relate and affect print dimensional/sculptural constructions with course is open to all, and fulfills an introductory, considerations to work on paper. The course intermediate and advanced level elective will offer experiences that provide the tools to course. 3 credits. Course Catalog Printmaking 168

culture today. Note: Open Elective. Encouraged and author, student and faculty, student and and pacing, together with the importance for Third/Fourth year students as an elective individual in the community, etc.) Note: This of combining word and image. Note: Open studio. Required for Third Year Print Majors. course is open to all, and fulfills an introductory, Elective. Required for Fourth Year Print Majors. 3 credits. intermediate and advanced level elective 3 credits. course. 3 credits.

The Liberated Print: Investigation Propaganda: Media, of Alternative Methods Printmaking: The Artist’s Book Dissemination Technique PRI377 Now: Artist Book As Image PRI440 This course creates a context for students to PRI431 From punk bands to political rallies, different negotiate the challenging and complex issues This studio course focuses on boundaries of techniques have been used to create attention- embedded in the making of contemporary book form, emphasis on image and concept, grabbing graphics. Through a variety of printed images. Projects and techniques and selection of appropriate form [output] projects in this course, students will explore complement and extend methods of traditional to content. Students will be encouraged to a range of techniques including approaches processes, allowing students room to invent, view the book as a conceptual space. Deeper to screen-printing from simple stencil making arrange, analyze and create connections development of sequencing and narrative methods; direct drawing on the screens; to a through more immediate printmaking methods in traditional and nontraditional formats. variety of ways to use photo emulsion, including to their major fields of study. This class will Forms covered on individual project basis the integration of digital imaging software. The concentrate on the intuitive, spontaneous as dictated by idea/concept for appropriate emphasis of this class is the development of and fluid approaches in printmaking such output/manifestation. Considerations include rich personal imagery and the relationship as; monoprint, collagraph, transfer drawing, sculptural, installation, digital output, etc. of form working with content to effectively Xerox litho, and wood intaglio, instigating the Examples and contemporary developments communicate ideas. This course is for students dialog between the limited edition vs. singular regarding the evolution of the artist book from all levels and majors. Notes: Open Elective. print, and the original vs. a copy. We will are examined through texts, through the Encouraged for Third/Fourth year students as consider formats that bridge other disciplines use of our library’s artist book collection, in an Elective Studio. Required for Fourth Year working with color, installation and three- discussion, and during critiques. Notes: This Print Majors. 3 credits. dimensional/sculptural constructions with course is open to all, and fulfills an introductory, considerations to work on paper. The course intermediate and advanced level elective will offer experiences that provide the tools to course. 3 credits. Expanded Print: New Media understand print media within a contemporary and Imaging framework. Note: Open elective. Encouraged PRI476 for third and fourth year students with a The Artist Book Now: This intermediate/advanced studio course painting and drawing emphasis as an Elective Narrative and Form offers an exploration in printmaking, Studio. Required for Third Year Print Majors. PRI432 considering the digital matrix for computer 3 credits. This studio course is for students interested aided and hand pulled prints through in producing sequentially developed imagery processes redefined in the digital age, via linear book structures. Historical examples scrutinizing decisions for information in and Collaboration Through and contemporary developments regarding information out, and the relationship to those a Printed Experience the evolution of the artist book are examined decisions. Students will be challenged to work PRI410 through texts, through the use of our library’s in the territory of digital media in relationship to Collaboration is defined by the interaction artist book collection, in discussion, and during and combination with traditional print medium. of two or more people. This studio course critiques. Due to technological advancements Students have the opportunity to create files supports the student in the development of over the last century artists now have a variety for output which are hand drawn, digitally a body of work while offering an opportunity of media with which to explore output of book generated, of a photographic nature, or a to experience collaboration by bringing projects. The class will expose students to the combination of all three. Topics include; transfer together idea generation, image making and nature and potential of different book structures methods, digital production of plates, color production. Through a series of projects as well as a variety of materials. The course management for a wide-format digital printer, students will use a variety of traditional will heighten the student’s ability to utilize the photolithography and exploration of media and experimental processes to define the interaction of sequenced content -- the act of choices to project ideas. Technical and critical parameters of collaboration. Moving beyond turning pages-- to express the continuity of an discussion in this course will be informed by the opening platform, students will redefine idea flowing through a continuum. Students the presentation of processes that have been collaboration as they develop projects informed realize the potential of narrative, sequence, developed over the past few decades, and by course objectives through the inclusion of how these developments relate and affect print their personal aspirations. (Collaboration could suggest projects between students, artist Course Catalog Printmaking 169

culture today. Note: Open Elective. Encouraged for Third/Fourth year students as an elective studio. Required for Third Year Print Majors. 3 credits.

The Liberated Print: Investigation of Alternative Methods PRI477 This course creates a context for students to negotiate the challenging and complex issues embedded in the making of contemporary printed images. Projects and techniques complement and extend methods of traditional processes, allowing students room to invent, arrange, analyze and create connections through more immediate printmaking methods to their major fields of study. This class will concentrate on the intuitive, spontaneous and fluid approaches in printmaking such as; monoprint, collagraph, transfer drawing, Xerox litho, and wood intaglio, instigating the dialog between the limited edition vs. singular print, and the original vs. a copy. We will consider formats that bridge other disciplines working with color, installation and three- dimensional/sculptural constructions with considerations to work on paper. The course will offer experiences that provide the tools to understand print media within a contemporary framework. Note: Open elective. Encouraged for third and fourth year students with a painting and drawing emphasis as an Elective Studio.Required for Third Year Print Majors. 3 credits. Course Catalog Painting 170

required to articulate a statement that situates their expertise. Goals + Objectives: Students Painting their work within a contemporary practice of should understand the nature of the decision- figurative painting. 3 credits. making process in the creation of work, and establishing analyzing and evaluating criteria. The Tactile and the Digtal: Prerequisites: Intro to Painting or with the 3 credits. Painting in the New Century permission of the instructor. PTG21X Prerequisites: Intro to Painting or with the The focus of this course is the role of Painting in permission of the instructor. the digital age. Students will use varied media Intro to Painting: Painting History and subjects, traditional and non-traditional, (1828-2010) to further develop analytical and expressive PTG221 Popular Culture and Imagery: means in their painting and creative practices. This is a beginning painting course; it is a A Painting Course Students are encouraged to draw from prerequisite for painting electives and all PTG227 personal interests and from many disciplines advanced painting courses. Students are asked This course will explore the symbiotic to develop projects that will be presented to to approach painting pre-photographically (as relationship of art and culture, and the particular the class for group critiques. Through slide if the year were 1828.) Students are introduced ways in which popular and material culture presentations, gallery visits museum shows, to the fundamentals of a traditional painting influence the visual arts and vice versa NOW and readings, information will be presented practice with an emphasis on observational (if there are indeed any particular ways that relating to the current art scene in order to rendering and applied color theory beginning stand out in this particular time as opposed to further the student’s personal vision, help with Newton. Students will learn about color a different time in history). Students will learn clarify directions, and explore a variety of mixing, brush types, support construction to discern both the overt and covert affects/ formal, conceptual, and technical approaches and general canvas preparation. Students effects of culture on contemporary artists as to painting and image-making. Projects will will paint from life learning how to capture the well as on their own work and that of their address, among others, ideas and forms of three-dimensional world on a two-dimensional peers. Students in order to take part in relevant light and space, color relationships, means surface as well as how to use material class room conversation/discussion need a and meanings of representation, text and working through shape, form, texture, and working knowledge of current events/ history/ texture, and gender, social and political issues. mark to create an illusion of space and mass. popular culture and will need to be ready to 3 credits. Through Critiques, discussions, readings, slide read and do research, etc.Open to all Students. presentations, and museum visits students 3 credits. Prerequisites: Intro to Painting or with the will develop vocabulary and critical thinking permission of the instructor. skills essential to their studio practice as well as a sense of the history of painting leading to Painting: Framing the Subject and contemporary practices. Offered fall. 3 credits. Construction of Meaning Painted Bodies: The PTG229 Contemporary Figure This course focuses on the further development PTG220 Painting as System, Method, of the subject of the student’s work. Emphasis This course deals with the position of the figure Organism and Concept is on strategies of meaning construction within contemporary painting and a studio PTG226 from the perspective of the artist’s intention. practice extending from that position. Figurative This course examines the nature of Painting Students will develop and discuss intention painting represents the continuation of a as it relates to other visual arts media. The embodied in a work through critiques and tradition that extends back before history and is creation of systems as a way to generate, discourse and will explore the relation of yet poised to reach into any foreseeable future. organize, compose, pattern, plan, fashion, means to meaning. Students are expected to Class discussions will be based on readings model, design, execute, and possibly destroy engage in critical discourse surrounding the that deal with critical and historical issues art work will be explored. Artists such as Sol work of fellow students, established artists surrounding the figure in painting and on the Lewitt, Marcel Duchamp, Survival Research and in relation to their own work. The goal is work of contemporary artists dealing with the Laboratories, Vito Acconci, Fischli + Weiss, to develop an understanding of the criteria, figure from a painting perspective. By the end Chuck Close, Alfred Jensen, Jackson Pollock, standards and values promoted by the artist of the semester students will be expected to and Mel Bochner will be examined within the and how these come to be understood by the develop a cohesive body of work dealing with context of how systems function within their audience. In addition students will be expected the figure as its subject. The student will also be work. Reading relevant texts, looking at work, to demonstrate a personal commitment to a research/special projects, studio work, group student practice and the willingness and ability and individual critiques are an integral part of to make work. Required for all 4th year Painting this course. Students may work in the area of majors and open as an elective to any senior from regardless of major or with the permission of the instructor or Painting Head. 3 credits. Course Catalog Painting 171

Painting and The Photograph: Painting: The Medium Painting: Mechanics of Meaning: From Delacroix to Richter is the Message Subject, Form, Content PTG231 PTG234 PTG236 Painters going back as far as Renaissance Careful selection and control of the medium The goal of this course is to develop an have used devices such as the camera obscura enables us to express ideas clearly. In this class understanding of the criteria, standards, and to produce two-dimensional depictions of the students will explore and consider how various values promoted by artists and how these three dimensional world. With the invention materials, methods, and processes operate, come to be understood by their audience of photography in 1839, artists were liberated function, and ultimately how they impact through exploring the relationships that exist from the demands of reproducing naturalistic meaning. Class demonstrations and lectures between subject, form and content. Through appearances. This course explores the will introduce students to basic traditional and discussion, assignments and studio critiques relationship between the photographic and nontraditional painting materials and processes the class will attempt to make explicit the role painting; the effect that the birth of photography including safe handling and use. The class will that our assumptions about the component has had on the history, and the current state of function as a lab where through the process parts of an art work plays in the construction painting. A primary question to be considered of trial and error, students will conduct ‘tests’, of a work and how it is understood by is what are the strategies of Painting in the keep notes, and ultimately catalog their findings its audience. 3 credits. Age of Mechanical Reproduction? How has in an archive. Students are expected to explore photography and mechanical reproduction these ‘findings’ in their own studio practice, influenced Painting? We will look at artists as they further develop the practical and Painting Lab: Explorations in as varied as Delacroix, Courbet, Warhol, conceptual skills necessary for their work. Represent’n and Figurat’n Rosenquist, Tuymans, Richter, Struth, Gursky, 3 credits. PTG23X among others. Readings will include readings This course identifies the components of from authors such as Sontag, Benjamin, Prerequisites: Intro to Painting traditional figurative painting such as space, and Barthes. 3 credits. composition, point of view, color, and scale. Using this as a platform each of these will serve Prerequisites: Intro to Painting or with the Painting: Constructing Narratives as the subject of a sustained investigation. permission of the faculty. PTG235 This approach will function to establish Every painting implies a narrative, whether it is an understanding of these elements in a a story being told through the images or the conventional context as well as the object of Painting Beyond Observation story of how the painting itself was made. This experimentation. This course will be useful PTG232 class is focused on what constitutes a narrative to students in all areas who are interested in Continued emphasis on material, color, and and the creation of content and strategies in working figuratively in two-dimensions. skill-building. Students will work with primarily painting. Students will consider implied, explicit, This course is open to all students with the with acrylic paint. This class moves beyond rhizomatic and linear narratives. Through studio prerequisite of Intro to Painting or with the observational rendering and focuses on other practice, lecture and discussion students will permission of the instructor. 3 credits. approaches to developing content for work. engage in producing visual and conceptual Class topics focus on contemporary issues narratives within their work. Through investing Prerequisites: Intro to Painting or with the in Painting including: “What makes a narrative students will move beyond the permission of the instructor. Contemporary Painter? What is Painting? fundamentals of Painting and focus on the What is a studio practice? What does it mean development of a personal practice as framed to be a professional?” Some of the topics to by contemporary standards. Students will be Water+: An Exploration of be considered: abstraction, representation, expected to do research and generate a project Water-Based Media perception, mimesis, conceptual, subject, reflecting their personal interests. By the end PTG240 reality, expressive, authorship, and of the semester students will have identified This course explores the different materials interpretation.A few of the artists that will be a subject and created a group of works and processes used in various water-based looked at: Kandinsky, Duchamp, Arshile Gorky, focused on this subject. Further students will media such as acrylic, gouache, watercolor, Jackson Pollock, Ad Reinhardt, Gerhard Richter, be asked to work toward an artist statement ink, and other natural substances that can be Jack Whitten, Peter Saul, Agnes Martin, Pipilotti to accompany their work. Required for junior used to make colors/washes. Various historical Rist, Lisa Hoke, Jessica Stockholder, Jenny Painting Majors. 3 credits. models will be examined such as Chinese scroll Saville, et. al. It is required of all Painting Major painting and watercolor from the Song dynasty sophomores. 3 credits. Prerequisites: Intro to Painting or with the to Renaissance architecture and figure studies permission of the faculty. to post-impressionist use of color and mark Prerequisites: Intro to Painting or with the which will put contemporary use of water- permission of the faculty. based media into focus. The work of artists as varied as William Blake, Vincent Van Gogh, Charles Burchfield, and Paul Klee to more Course Catalog Painting 172

recent artists such as Francesco Clemente, Working Collaboratively: required to articulate a statement that situates Marlene Dumas, Amy Cutler, Shazia Sikander, Art and The Group Dynamic their work within a contemporary practice of and Franz Ackermann, will be examined within PTG25X figurative painting. 3 credits. the context of the student’s personal practice. Though the image of the artist is that of the 3 credits. solitary individual striving to express their Prerequisites: Intro to Painting or with the vision – the contemporary practice of art is permission of the instructor. Prerequisites: Intro to Painting or with the peppered with numerous examples of artists permission of the instructor. collaborating. These extend form something as simple as organizing a group exhibition, to Painting as system, Method, the type of social interventions practiced by Organism, and Concept Painting: Color, Scale, the Guerrilla Girls or the work of such entities PTG326 Mark, and Form as Gilbert and George, or the collective N55. This course examines the nature of Painting PTG241 This course through projects, readings, and as it relates to other visual arts media. The Figurative’, ‘abstract’, ‘conceptual’, ‘non- critiques will explore the dynamic of working creation of systems as a way to generate, objective’, ‘romantic landscape”, “post-modern”, collaboratively. Each exercise will address organize, compose, pattern, plan, fashion, “Bob Ross-ian”, paintings all have an underlying different processes, skill-sets and interpersonal model, design, execute, and possibly destroy structure. This studio course examines how the relationships. This course is open to students art work will be explored. Artists such as Sol specificity of color, scale, mark and shape form from all disciplines and is not media specific. Lewitt, Marcel Duchamp, Survival Research and affect a painting’s content. Students will be 3 credits. Laboratories, Vito Acconci, Fischli + Weiss, encouraged to focus on their own body of work Chuck Close, Alfred Jensen, Jackson Pollock, while exploring issues of content within the and Mel Bochner will be examined within the themes of the class through the investigation Painting: Internship context of how systems function within their of their own studio practice, as well as looking PTG299 work. Reading relevant texts, looking at work, at and analyzing the work of other painters Students will submit a written proposal for a research/special projects, studio work, group and artists throughout history. This course will semester’s long course of work. This work and individual critiques are an integral part of be of particular interest to students in painting, should have three primary components: a this course. Students may work in the area of drawing, and printmaking. 3 credits. written paper, studio work, and work in the their expertise. Goals and Objectives: Students field (eg.: working for a gallery or artist). A should understand the nature of the decision- Prerequisites: Intro to Painting or with the timeline for the completion and review of these making process in the creation of work, and permission of the instructor. components are also required. The proposal establishing analyzing and evaluating criteria. must be sponsored by the supervising faculty 3 credits. meaning that the proposal must be vetted and On Painters and Painting: accepted by the faculty who will oversee the Prerequisites: Intro to Painting or with the Aura, Author, Aura project before it is submitted to the department permission of the instructor. PTG251 head. This course is open to all Painting majors. With an emphasis on the practice of Painting, 3 credits. this class examines the role subjectivity plays in Popular Culture and Imagery: contemporary art. The position of the artist and A Painting Course the frame of the canvas will be traced from the Painted Bodies: PTG327 modernist notion of individual expressiveness, The Contemporary Figure This course will explore the symbiotic to post-modernist practices characterized by PTG320 relationship of art and culture, and the particular the end of the author’s authority and finally to This course deals with the position of the figure ways in which popular and material culture contemporary practices in which the artist’s within contemporary painting and a studio influence the visual arts and vice versa NOW hand reemerges in dialogue with mechanized practice extending from that position. Figurative (if there are indeed any particular ways that and digital processes. Students will be asked painting represents the continuation of a stand out in this particular time as opposed to to grapple with these complex issues in tradition that extends back before history and is a different time in history). Students will learn relationship to what they paint and how they yet poised to reach into any foreseeable future. to discern both the overt and covert affects/ paint. Class discussions will address a variety Class discussions will be based on readings effects of culture on contemporary artists as of critical essays dealing with these topics and that deal with critical and historical issues well as on their own work and that of their the practice of painting as treated by artists and surrounding the figure in painting and on the peers. Students in order to take part in relevant critics. 3 credits. work of contemporary artists dealing with the class room conversation/discussion need a figure from a painting perspective. By the end working knowledge of current events/ history/ Prerequisites: Intro to Painting or with the of the semester students will be expected to popular culture and will need to be ready to permission of the instructor. develop a cohesive body of work dealing with read and do research, etc. Open to all Students. the figure as its subject. The student will also be 3 credits. Course Catalog Painting 173

Painting: Framing the Subject and Painting Beyond Observation Painting: Constructing Narratives Construction of Meaning PTG332 PTG335 PTG329 Continued emphasis on material, color, and Every painting implies a narrative, whether it is This course focuses on the further development skill-building. Students will work with primarily a story being told through the images or the of the subject of the student’s work. Emphasis with acrylic paint. This class moves beyond story of how the painting itself was made. This is on strategies of meaning construction observational rendering and focuses on class is focused on what constitutes a narrative from the perspective of the artist’s intention. other approaches to developing content for and the creation of content and strategies in Students will develop and discuss intention work. Class topics focus on contemporary painting. Students will consider implied, explicit, embodied in a work through critiques and issues in Painting including: “What makes rhizomatic and linear narratives. Through studio discourse and will explore the relation of a Contemporary Painter? What is Painting? practice, lecture and discussion students will means to meaning. Students are expected to What is a studio practice? What does it mean engage in producing visual and conceptual engage in critical discourse surrounding the to be a professional?” Some of the topics to narratives within their work. Through investing work of fellow students, established artists be considered: abstraction, representation, narrative students will move beyond the and in relation to their own work. The goal is perception, mimesis, conceptual, subject, fundamentals of Painting and focus on the to develop an understanding of the criteria, reality, expressive, authorship, and development of a personal practice as framed standards and values promoted by the artist interpretation.A few of the artists that will be by contemporary standards. Students will be and how these come to be understood by the looked at: Kandinsky, Duchamp, Arshile Gorky, expected to do research and generate a project audience. In addition students will be expected Jackson Pollock, Ad Reinhardt, Gerhard Richter, reflecting their personal interests. By the end to demonstrate a personal commitment to a Jack Whitten, Peter Saul, Agnes Martin, Pipilotti of the semester students will have identified student practice and the willingness and ability Rist, Lisa Hoke, Jessica Stockholder, Jenny a subject and created a group of works to make work. Required for all 4th year Painting Saville, et. al. It is required of all Painting Major focused on this subject. Further students will majors and open as an elective to any senior sophomores. 3 credits. be asked to work toward an artist statement from regardless of major or with the permission to accompany their work. Required for junior of the instructor or Painting Head. 3 credits. Prerequisites: Intro to Painting or with the Painting Majors. 3 credits. permission of the faculty. Prerequisites: Intro to Painting or with the Painting and The Photograph: permission of the faculty. From Delacroix to Richter Painting: The Medium PTG331 Is the Message Painters going back as far as Renaissance PTG334 Painting: Mechanics of Meaning: have used devices such as the camera obscura Careful selection and control of the medium Subject, Form, Content to produce two-dimensional depictions of the enables us to express ideas clearly. In this class PTG336 three dimensional world. With the invention students will explore and consider how various The goal of this course is to develop an of photography in 1839, artists were liberated materials, methods, and processes operate, understanding of the criteria, standards, and from the demands of reproducing naturalistic function, and ultimately how they impact values promoted by artists and how these appearances. This course explores the meaning. Class demonstrations and lectures come to be understood by their audience relationship between the photographic and will introduce students to basic traditional and through exploring the relationships that exist painting; the effect that the birth of photography nontraditional painting materials and processes between subject, form and content. Through has had on the history, and the current state of including safe handling and use. The class will discussion, assignments and studio critiques painting. A primary question to be considered function as a lab where through the process the class will attempt to make explicit the role is what are the strategies of Painting in the of trial and error, students will conduct ‘tests’, that our assumptions about the component Age of Mechanical Reproduction? How has keep notes, and ultimately catalog their findings parts of an art work plays in the construction photography and mechanical reproduction in an archive. Students are expected to explore of a work and how it is understood by its influenced Painting? We will look at artists these ‘findings’ in their own studio practice, audience. 3 credits. as varied as Delacroix, Courbet, Warhol, as they further develop the practical and Rosenquist, Tuymans, Richter, Struth, Gursky, conceptual skills necessary for their work. among others. Readings will include readings 3 credits. Painting Lab: Exploration in from authors such as Sontag, Benjamin, and Representation and Figuration Barthes. 3 credits. Prerequisites: Intro to Painting PTG33X This course identifies the components of Prerequisites: Intro to Painting or with the traditional figurative painting such as space, permission of the faculty. composition, point of view, color, and scale. Using this as a platform each of these will serve as the subject of a sustained investigation. This approach will function to establish Course Catalog Painting 174

an understanding of these elements in a and artists throughout history. This course will Internship: Painting conventional context as well as the object of be of particular interest to students in painting, PTG399 experimentation. This course will be useful drawing, + printmaking. 3 credits. Students will submit a written proposal for a to students in all areas who are interested in semester’s long course of work. This work working figuratively in two-dimensions. Prerequisites: Intro to Painting or with the should have three primary components: a 3 credits. permission of the instructor. written paper, studio work, and work in the field (eg.: working for a gallery or artist). A Prerequisites: Intro to Painting or with the timeline for the completion and review of these permission of the instructor. On Painters and Painting: components are also required. The proposal Aura, Author, Aura must be sponsored by the supervising faculty PTG351 meaning that the proposal must be vetted and Water+: An Exploration of Water- With an emphasis on the practice of Painting, accepted by the faculty who will oversee the Based Media this class examines the role subjectivity plays in project before it is submitted to the department PTG340 contemporary art. The position of the artist and head. This course is open to all Painting majors. This course explores the different materials the frame of the canvas will be traced from the 3 credits. and processes used in various water-based modernist notion of individual expressiveness, media such as acrylic, gouache, watercolor, to post-modernist practices characterized by ink, and other natural substances that can be the end of the author’s authority and finally to Painted Bodies: The used to make colors/washes. Various historical contemporary practices in which the artist’s Contemporary Figure models will be examined such as Chinese scroll hand reemerges in dialogue with mechanized PTG420 painting and watercolor from the Song dynasty and digital processes. Students will be asked This course deals with the position of the figure to Renaissance architecture and figure studies to grapple with these complex issues in within contemporary painting and a studio to post-impressionist use of color and mark relationship to what they paint and how they practice extending from that position. Figurative which will put contemporary use of water- paint. Class discussions will address a variety painting represents the continuation of a based media into focus. The work of artists of critical essays dealing with these topics and tradition that extends back before history and is as varied as William Blake, Vincent Van Gogh, the practice of painting as treated by artists yet poised to reach into any foreseeable future. Charles Burchfield, and Paul Klee to more and critics. 3 credits. Class discussions will be based on readings recent artists such as Francesco Clemente, that deal with critical and historical issues Marlene Dumas, Amy Cutler, Shazia Sikander, Prerequisites: Intro to Painting or with the surrounding the figure in painting and on the and Franz Ackermann, will be examined within permission of the instructor. work of contemporary artists dealing with the the context of the student’s personal practice. figure from a painting perspective. By the end 3 credits. of the semester students will be expected to Working Collaboratively: Art and develop a cohesive body of work dealing with Prerequisites: Intro to Painting or with the The Group Dynamic the figure as its subject. The student will also be permission of the instructor. PTG35X required to articulate a statement that situates Though the image of the artist is that of the their work within a contemporary practice of solitary individual striving to express their figurative painting. 3 credits. Painting: Color, Scale, Mark, vision – the contemporary practice of art is and Form peppered with numerous examples of artists Prerequisites: Intro to Painting or with the PTG341 collaborating. These extend form something permission of the instructor. Figurative’, ‘abstract’, ‘conceptual’, ‘non- as simple as organizing a group exhibition, to objective’, ‘romantic landscape”, “post-modern”, the type of social interventions practiced by “Bob Ross-ian”, paintings all have an underlying the Guerrilla Girls or the work of such entities Painting Seminar: Contemporary structure. This studio course examines how the as Gilbert and George, or the collective N55. Issues in Painting specificity of color, scale, mark and shape form This course through projects, readings, and PTG422M and affect a painting’s content. Students will be critiques will explore the dynamic of working In preparation for the student’s final encouraged to focus on their own body of work collaboratively. Each exercise will address BFA defense and for working beyond an while exploring issues of content within the different processes, skill-sets and interpersonal undergraduate level, this course focuses in themes of the class through the investigation relationships. This course is open to students an advanced manner on the seminal issues of their own studio practice, as well as looking from all disciplines and is not media specific. covered over the course of the student’s at and analyzing the work of other painters 3 credits. visual arts education. Questions of style, aesthetics, concept, meaning, and context are addressed. Particular emphasis is given to issues concerned with presentation, “framing,” audience and reception. Students are expected Course Catalog Painting 175

to engage in critical discourse surrounding the well as on their own work and that of their Painting: Image and Narrative work of fellow students, established artists and peers. Students in order to take part in relevant PTG430 their own work. By the end of the term students class room conversation/discussion need a This course examines the nature of Painting as are expected to clearly identify the subject working knowledge of current events/ history/ it relates to other visual arts media. The source of their work, defend their choices in relation popular culture and will need to be ready to of the “image” and the narrative it suggests will to this subject as well as discuss reasonable read and do research, etc. Open to all Students. be closely examined. Students will be asked to expectations of audience reception. Course 3 credits. examine the way an artist goes about making readings will be given in relation to these topics work influences our understanding or read of as well as the maintenance of a professional that work. Alternative painting practices will studio practice. Required for all 4th year Painting: Image and Process be examined as well as the approaches of Painting majors and open as an elective to any PTG428 many non-painters. Such artists include: Sol senior or with the permission of the instructor or Figurative’, ‘abstract’, ‘conceptual’, ‘non- Lewitt, Marcel Duchamp, Survival Research Painting Head. 3 credits. objective’, ‘romantic landscape”, “post-modern”, Laboratories, Vito Acconci, Fischli + Weiss, “Bob Ross-ian”, paintings all have an underlying Chuck Close, Alfred Jensen, Jackson Pollock, structure. This studio course examines how the and Mel Bochner just to name a few. Reading Painting as System, Method, specificity of color, scale, mark and shape form relevant texts, looking at work, research/special Organism, and Concept and effect a painting’s content. Students will be projects, studio work, group and individual PTG426 encouraged to focus on their own body of work critiques are an integral part of this course. This course examines the nature of Painting while exploring issues of content within the Open to all students above the freshman level. as it relates to other visual arts media. The themes of the class through the investigation 3 credits. creation of systems as a way to generate, of their own studio practice, as well as looking organize, compose, pattern, plan, fashion, at and analyzing the work of other painters and model, design, execute, and possibly destroy artists throughout history. 3 credits. Painting and The Photograph: art work will be explored. Artists such as Sol From Delacroix to Richter Lewitt, Marcel Duchamp, Survival Research PTG431 Laboratories, Vito Acconci, Fischli + Weiss, Painting: Framing the Subject Painters going back as far as Renaissance Chuck Close, Alfred Jensen, Jackson Pollock, and Construction of Meaning have used devices such as the camera obscura and Mel Bochner will be examined within the PTG429 to produce two-dimensional depictions of the context of how systems function within their This course focuses on the further development three dimensional world. With the invention work. Reading relevant texts, looking at work, of the subject of the student’s work. Emphasis of photography in 1839, artists were liberated research/special projects, studio work, group is on strategies of meaning construction from the demands of reproducing naturalistic and individual critiques are an integral part of from the perspective of the artist’s intention. appearances. This course explores the this course. Students may work in the area of Students will develop and discuss intention relationship between the photographic and their expertise. Goals + Objectives: Students embodied in a work through critiques and painting; the effect that the birth of photography should understand the nature of the decision- discourse and will explore the relation of has had on the history, and the current state of making process in the creation of work, and means to meaning. Students are expected to painting. A primary question to be considered establishing analyzing and evaluating criteria. engage in critical discourse surrounding the is what are the strategies of Painting in the 3 credits. work of fellow students, established artists Age of Mechanical Reproduction? How has and in relation to their own work. The goal is photography and mechanical reproduction Prerequisites: Intro to Painting or with the to develop an understanding of the criteria, influenced Painting? We will look at artists permission of the instructor. standards and values promoted by the artist as varied as Delacroix, Courbet, Warhol, and how these come to be understood by the Rosenquist, Tuymans, Richter, Struth, Gursky, audience. In addition students will be expected among others. Readings will include readings Popular Culture and Imagery: A to demonstrate a personal commitment to a from authors such as Sontag, Benjamin, and Painting Course student practice and the willingness and ability Barthes. Required for junior Painting Majors. PTG427 to make work. Required for all 4th year Painting 3 credits. This course will explore the symbiotic majors and open as an elective to any senior relationship of art and culture, and the particular from regardless of major or with the permission Prerequisites: Intro to Painting or with the ways in which popular and material culture of the instructor or Painting Head. 3 credits. permission of the faculty. influence the visual arts and vice versa NOW (if there are indeed any particular ways that stand out in this particular time as opposed to a different time in history). Students will learn to discern both the overt and covert affects/ effects of culture on contemporary artists as Course Catalog Painting 176

Painting Beyond Observation Painting: Constructing Narratives an understanding of these elements in a PTG432 PTG435 conventional context as well as the object of Continued emphasis on material, color, and Every painting implies a narrative, whether it is experimentation. This course will be useful skill-building. Students will work with primarily a story being told through the images or the to students in all areas who are interested in with acrylic paint. This class moves beyond story of how the painting itself was made. This working figuratively in two-dimensions. observational rendering and focuses on class is focused on what constitutes a narrative 3 credits. other approaches to developing content for and the creation of content and strategies in work. Class topics focus on contemporary painting. Students will consider implied, explicit, Prerequisites: Intro to Painting or with the issues in Painting including: “What makes rhizomatic and linear narratives. Through studio permission of the instructor. a Contemporary Painter? What is Painting? practice, lecture and discussion students will What is a studio practice? What does it mean engage in producing visual and conceptual to be a professional?” Some of the topics to narratives within their work. Through investing Water+: An Exploration of be considered: abstraction, representation, narrative students will move beyond the Water-Based Media perception, mimesis, conceptual, subject, fundamentals of Painting and focus on the PTG440 reality, expressive, authorship, and development of a personal practice as framed This course explores the different materials interpretation.A few of the artists that will be by contemporary standards. Students will be and processes used in various water-based looked at: Kandinsky, Duchamp, Arshile Gorky, expected to do research and generate a project media such as acrylic, gouache, watercolor, Jackson Pollock, Ad Reinhardt, Gerhard Richter, reflecting their personal interests. By the end ink, and other natural substances that can be Jack Whitten, Peter Saul, Agnes Martin, Pipilotti of the semester students will have identified used to make colors/washes. Various historical Rist, Lisa Hoke, Jessica Stockholder, Jenny a subject and created a group of works models will be examined such as Chinese scroll Saville, et. al. It is required of all Painting Major focused on this subject. Further students will painting and watercolor from the Song dynasty sophomores. 3 credits. be asked to work toward an artist statement to Renaissance architecture and figure studies to accompany their work. Required for junior to post-impressionist use of color and mark Prerequisites: Intro to Painting or with the Painting Majors. 3 credits. which will put contemporary use of water- permission of the faculty. based media into focus. The work of artists Prerequisites: Intro to Painting or with the as varied as William Blake, Vincent Van Gogh, permission of the faculty. Charles Burchfield, and Paul Klee to more Painting: The Medium recent artists such as Francesco Clemente, Is the Message Marlene Dumas, Amy Cutler, Shazia Sikander, PTG434 Painting: Mechanics of Meaning: and Franz Ackermann, will be examined within Careful selection and control of the medium Subject, Form, Content the context of the student’s personal practice. enables us to express ideas clearly. In this class PTG436 3 credits. students will explore and consider how various The goal of this course is to develop an materials, methods, and processes operate, understanding of the criteria, standards, and Prerequisites: Intro to Painting or with the function, and ultimately how they impact values promoted by artists and how these permission of the instructor. meaning. Class demonstrations and lectures come to be understood by their audience will introduce students to basic traditional and through exploring the relationships that exist nontraditional painting materials and processes between subject, form and content. Through Painitng: Color, Scale, including safe handling and use. The class will discussion, assignments and studio critiques Mark, and Form function as a lab where through the process the class will attempt to make explicit the role PTG441 of trial and error, students will conduct ‘tests’, that our assumptions about the component Figurative’, ‘abstract’, ‘conceptual’, ‘non- keep notes, and ultimately catalog their findings parts of an art work plays in the construction objective’, ‘romantic landscape”, “post-modern”, in an archive. Students are expected to explore of a work and how it is understood by its “Bob Ross-ian”, paintings all have an underlying these ‘findings’ in their own studio practice, audience. 3 credits. structure. This studio course examines how the as they further develop the practical and specificity of color, scale, mark and shape form conceptual skills necessary for their work. and affect a painting’s content. Students will be 3 credits. Painting Lab: Exploration in encouraged to focus on their own body of work Representation and Figuration while exploring issues of content within the Prerequisites: Intro to Painting PTG43X themes of the class through the investigation This course identifies the components of of their own studio practice, as well as looking traditional figurative painting such as space, at and analyzing the work of other painters composition, point of view, color, and scale. Using this as a platform each of these will serve as the subject of a sustained investigation. This approach will function to establish Course Catalog Painting 177

and artists throughout history. This course will Painting: Internship be of particular interest to students in painting, PTG499 drawing, + printmaking. 3 credits. Students will submit a written proposal for a semester’s long course of work. This work Prerequisites: Intro to Painting or with the should have three primary components: a permission of the instructor. written paper, studio work, and work in the field (eg.: working for a gallery or artist). A On Painters and Painting: timeline for the completion and review of these Aura, Author, Aura components are also required. The proposal PTG451 must be sponsored by the supervising faculty With an emphasis on the practice of Painting, meaning that the proposal must be vetted and this class examines the role subjectivity plays in accepted by the faculty who will oversee the contemporary art. The position of the artist and project before it is submitted to the department the frame of the canvas will be traced from the head. This course is open to all Painting majors. modernist notion of individual expressiveness, 3 credits. to post-modernist practices characterized by the end of the author’s authority and finally to contemporary practices in which the artist’s hand reemerges in dialogue with mechanized and digital processes. Students will be asked to grapple with these complex issues in relationship to what they paint and how they paint. Class discussions will address a variety of critical essays dealing with these topics and the practice of painting as treated by artists and critics. 3 credits.

Prerequisites: Intro to Painting or with the permission of the instructor.

Working Collaboratively: Art and The Group Dynamic PTG45X Though the image of the artist is that of the solitary individual striving to express their vision – the contemporary practice of art is peppered with numerous examples of artists collaborating. These extend form something as simple as organizing a group exhibition, to the type of social interventions practiced by the Guerrilla Girls or the work of such entities as Gilbert and George, or the collective N55. This course through projects, readings, and critiques will explore the dynamic of working collaboratively. Each exercise will address different processes, skill-sets and interpersonal relationships. This course is open to students from all disciplines and is not media specific. 3 credits. Course Catalog Sculpture 178

complete all assigned readings, develop and Sculpture: Aesthetic and Sculpture complete projects by dealing with movement Functional Structure and space through the process of mapping and SCU229A investigation. Open to all students. 3 credits. The goal of this course is to expose students Mapping and Memory: to the qualitative nature of materiality at a Spacial Constructions fundamental level and to provide them with SCU204 Environmental Sculpture a formative understanding of the various This course will focus on various properties SCU225 aesthetic qualities that materials possess. of memory as they are informed by This class is concerned with art as a process In other words this course introduces how contemporary science and philosophy via the of exploration, discovery and experimentation, materials influence the meaning of a work of transformation of “information, thoughts and within the broad contextual conditions of art. This course addresses how the qualities of experiences” as a process of mapping and Ecology. In this course, art is considered as material act as determine aesthetic organization as a condition of recording into works of art. presenting an ideological position in which one and conditions of conveyance within a work. Mapping (recording) for this course should qualifies his/her relationship(s) both separated The course focuses on both the physicality of be understood as a process of revelation, from and within the natural world. This course material condition(s) of state-change, intensive a translation of fact (reality) or imagination examines both the historic and contemporary material exploration and experimentation as a (memory) into dimensional representations. landscape of Art and the Environment as function of structure, and its affect on aesthetic Mapping implies numerous spatial relationships, conditions of cultural interaction and production production. Required at the sophomore level framing positions such as scale and physical with a consideration for the broader issues for all Sculpture majors and open to all other proximity, the passage of time and the that have emerged since the 1960s and 1970s students. Offered spring. 3 credits. probabilistic qualities of space-time. In addition through activism. Existing at the intersection to significance of proximity when exploring and of art, science, technology and ecology, understanding space the process of mapping Environmental Art often functions to inform Installlation: Light and Sound is also associated with journey in space or as and/or interpret natural conditions and the SCU230A the length of a durational event. In order to processes associated with both “non-human” Sculptural installation is a condition of space accomplish these transformations students will and “human-made” constructions. It may also that is neither object bound nor object-centric be able to engage and examine both physical educate us about environmental issues and in its existence but rather presents a condition and virtual approaches to spatial construction concerns. This course introduces and provides that is often identified as immersive and will be encouraged. Open to all students. a context for this area of interdisciplinary intentionally organized to produce a spatially 3 credits. exchange and artist production by examining dependent experience beyond that of the areas commonly known as Land Art, Eco Art, “Everyday”. This course will investigate various Environmental Art, Art and Science, ArtSci, applications and approaches to subject of Kinetics, Motion, and Space Bio-Art and Art and Technology. Open to Installation with an emphasis on contemporary SCU213 all students. 3 credits. practices using light and sound as a means of Utilizing methods of observation, experiential constructing space and form. Primary to this “mapping” and research, students are asked course are the understandings of light (lighting) to deal with problems of three-dimensionality Intro to Sculpture: Basic Materials as both a material and structural element as embedded within the continuous nature and Techniques with regard to organization and presentation of events, actions, and movements recorded, SCU229 and the combined relationship of sound as performed or proposed. Of particular interest This course is designed to provide students an immersive component in the production of will be the concerns of interaction both within with a foundational knowledge of core materials installation-based works. Required at the junior and between spatial locations, conditions and basic techniques that are fundamental level for all Sculpture majors and open and the unseen. Students will be asked to for general 3 -dimensional constructions. to all other students at the sophomore consider ideas of trace, residue, causation, In addition to these techniques, students level and above. 3 credits. and the rhizomatic, as well as non-linear vs. are familiarized with the various tools and linear progressions. Questions will include: equipment in the sculpture area and trained in Prerequisites: SCU229 Basic Materials: How do we navigate both three-dimensional good practices with regard to material safety Processes and Techniques or SCU229A and conceptual space(s)? How can the and standard shop procedures. Students Fundamental Structure: The Aesthetics experience of a space be explored, mapped, also learn about basic mold-making, cold- of Materiality and understood as a physical condition via the casting, woodworking, construction, and movement or interaction? What is the nature of steel fabrication techniques. Required at the a spatial event? Students will be expected to sophomore level for all Sculpture majors and open to all other students. Offered fall. 3 credits. Course Catalog Sculpture 179

Sculpture Special Topics: Mapping and Memory: Environmental Sculpture The Architecture of Space Spatial Constructions SCU325 SCU235 SCU304 This class is concerned with art as a process The primary focus of this course is the This course will focus on various properties of exploration, discovery and experimentation, investigation of interior and exterior spaces as of memory as they are informed by within the broad contextual conditions of defined by preexisting architectural elements contemporary science and philosophy via the Ecology. In this course, art is considered as and structures. Students are encouraged transformation of “information, thoughts and presenting an ideological position in which one to use a wide variety of materials in the experiences” as a process of mapping and qualifies his/her relationship(s) both separated construction of installations. This course as a condition of recording into works of art. from and within the natural world. This course focuses on the finite conditions of architectural Mapping (recording) for this course should examines both the historic and contemporary settings while maintaining a responsive be understood as a process of revelation, landscape of Art and the Environment as attitude to the possibilities suggested by these a translation of fact (reality) or imagination conditions of cultural interaction and production site-specific explorations particularly in terms (memory) into dimensional representations. with a consideration for the broader issues of the various narratives embedded within Mapping implies numerous spatial relationships, that have emerged since the 1960s and 1970s a given location. Students will be expected framing positions such as scale and physical through activism. Existing at the intersection to construct on average two different works proximity, the passage of time and the of art, science, technology and ecology, alternating between interior and exterior spaces probabilistic qualities of space-time. In addition Environmental Art often functions to inform over the course of the semester. Students will to significance of proximity when exploring and and/or interpret natural conditions and the also be expected to participate in discussions understanding space the process of mapping processes associated with both “non-human” centering on readings dealing with the is also associated with journey in space or as and “human-made” constructions. It may also theoretical concerns of Architecture, its impact the length of a durational event. In order to educate us about environmental issues and on sculpture and its ability to both define and/ accomplish these transformations students will concerns. This course introduces and provides or modify conditions of site-specificity and be able to engage and examine both physical a context for this area of interdisciplinary installation as with regard to sculpture and and virtual approaches to spatial construction exchange and artist production by examining sculptural-based work. 3 credits. will be encouraged. Open to all students. areas commonly known as Land Art, Eco Art, 3 credits. Environmental Art, Art and Science, ArtSci, Bio-Art and Art and Technology. Open to Sculpture Special Topics: all students. 3 credits. Sculpture Multimedia: Space Kinetics, Motion, and Space to Time - Linear/Non-Linear SCU313 SCU241 Utilizing methods of observation, experiential Installation: Light and Sound This course is designed to explore materials “mapping” and research, students are asked SCU330A (traditional and non-traditional) and ideas to deal with problems of three-dimensionality Sculptural installation is a condition of space of sculpture outside of the formats usually as embedded within the continuous nature that is neither object bound nor object-centric associated with it. The goal is for students to of events, actions, and movements recorded, in its existence but rather presents a condition push the boundaries of sculpture as installation performed or proposed. Of particular interest that is often identified as immersive and art, video, and film. Projects will deal with will be the concerns of interaction both within intentionally organized to produce a spatially visibility and invisibility, ephemerality, sound, and between spatial locations, conditions dependent experience beyond that of the time, gender, and social issues in relation to and the unseen. Students will be asked to “Everyday”. This course will investigate various sculpture, and will use indoor and outdoor consider ideas of trace, residue, causation, applications and approaches to subject of site-specific or performance-oriented formats. and the rhizomatic, as well as non-linear vs. Installation with an emphasis on contemporary Fundamental aspects of this course are the linear progressions. Questions will include: practices using light and sound as a means of analysis, expression, experimentation, and How do we navigate both three-dimensional constructing space and form. Primary to this deconstruction of existing values and the and conceptual space(s)? How can the course are the understandings of light (lighting) reconstruction of one’s own relation to popular experience of a space be explored, mapped, as both a material and structural element culture, theory and other fields of interest (such and understood as a physical condition via the with regard to organization and presentation as science, music, philosophy, etc.). 3 credits. movement or interaction? What is the nature of and the combined relationship of sound as a spatial event? Students will be expected to an immersive component in the production complete all assigned readings, develop and of installation-based works. Required at the complete projects by dealing with movement and space through the process of mapping and investigation. Open to all students. 3 credits. Course Catalog Sculpture 180

junior level for all Sculpture majors and open to reconstruction of one’s own relation to popular the context of communication such as the all other students at the sophomore level and culture, theory and other fields of interest (such Internet, social media or locally as a condition above. 3 credits. as science, music, philosophy, etc.). 3 credits. of collectives and collaboratives might find this interdisciplinary condition an interesting Prerequisites: SCU229 Basic Materials: alternative beyond the normal space for art Processes and Techniques or SCU229A The Rhetorical Object: Conceptual production. Open to all students. 3 credits. Fundamental Structure: The Aesthetics Constructions of Materiality SCU370 This course focuses on student intent with Mapping and Memory: Spatial regard to artistic production and their ability Constructions Sculpture Special Topics: The to allow for audience entry into a dialogue SCU404 Architecture of Space concerning the conceptual issues forwarded This course will focus on various properties SCU335 by their work. Students are expected to identify of memory as they are informed by The primary focus of this course is the the content of the work they would like to contemporary science and philosophy via the investigation of interior and exterior spaces as explore via a rhetorical method that embraces transformation of “information, thoughts and defined by preexisting architectural elements an interconnected relationship between experiences” as a process of mapping and and structures. Students are encouraged practice and theory as part of a project-based as a condition of recording into works of art. to use a wide variety of materials in the approach for the production of self-directed Mapping (recording) for this course should construction of installations. This course work. Required at the junior level for all be understood as a process of revelation, focuses on the finite conditions of architectural Sculpture majors and open to all junior and a translation of fact (reality) or imagination settings while maintaining a responsive senior level students. 3 credits. (memory) into dimensional representations. attitude to the possibilities suggested by these Mapping implies numerous spatial relationships, site-specific explorations particularly in terms Prerequisites: SCU229 Basic Materials: framing positions such as scale and physical of the various narratives embedded within Processes and Techniques or SCU229A proximity, the passage of time and the a given location. Students will be expected Fundamental Structure: The Aesthetics of probabilistic qualities of space-time. In addition to construct on average two different works Materiality to significance of proximity when exploring and alternating between interior and exterior spaces understanding space the process of mapping over the course of the semester. Students will is also associated with journey in space or as also be expected to participate in discussions Sculpture: Internship the length of a durational event. In order to centering on readings dealing with the SCU399 accomplish these transformations students will theoretical concerns of Architecture, its impact Elective credit can be given on a case-by- be able to engage and examine both physical on sculpture and its ability to both define and/ case basis for an internship developed by and virtual approaches to spatial construction or modify conditions of site-specificity and student through the career services office, will be encouraged. Open to all students. installation as with regard to sculpture and with advance permission of instructor and 3 credits. sculptural-based work. 3 credits. head of department.

Kinetics, Motion, and Space Sculpture Special Topics: Sculpture: Art and Public Space SCU413 Sculpture Multimedia: Space to SCU39X Utilizing methods of observation, experiential Time - Linear/Non-Linear This studio-based sculpture and installation “mapping” and research, students are asked SCU341 class investigates the production and reception to deal with problems of three-dimensionality This course is designed to explore materials of art in the context of the public space. Central as embedded within the continuous nature (traditional and non-traditional) and ideas to the course will be the development of the of events, actions, and movements recorded, of sculpture outside of the formats usually student’s individual creative desire to engage performed or proposed. Of particular interest associated with it. The goal is for students to different kinds of space. Practices of art and will be the concerns of interaction both within push the boundaries of sculpture as installation public space extend from the earliest known and between spatial locations, conditions art, video, and film. Projects will deal with civilizations. This class will introduce historic and the unseen. Students will be asked to visibility and invisibility, ephemerality, sound, examples and examine recent developments consider ideas of trace, residue, causation, time, gender, and social issues in relation to in terms of participatory art, community art, and the rhizomatic, as well as non-linear vs. sculpture, and will use indoor and outdoor interactions, place-based art, public art, site linear progressions. Questions will include: site-specific or performance-oriented formats. specific art and art in public places, both How do we navigate both three-dimensional Fundamental aspects of this course are the locally and in broader international situations. and conceptual space(s)? How can the analysis, expression, experimentation, and Students who work with public space in experience of a space be explored, mapped, deconstruction of existing values and the and understood as a physical condition via the movement or interaction? What is the nature of Course Catalog Sculpture 181

a spatial event? Students will be expected to cooperation with a major-day faculty, students material act as determine aesthetic organization complete all assigned readings, develop and are expected to develop what is often their first and conditions of conveyance within a work. complete projects by dealing with movement significant independent work. For BFA students The course focuses on both the physicality of and space through the process of mapping and the focus of this course centers on research material condition(s) of state-change, intensive investigation. Open to all students. 3 credits. methods and its translation into artistic material exploration and experimentation as a production. Required at the senior level for all function of structure, and its affect on aesthetic Sculpture majors for BFA development and production. Required at the sophomore level Environmental Sculpture open to junior level sculpture students as an for all Sculpture majors and open to all other SCU425 elective offering for independent research open students. 3 credits. This class is concerned with art as a process to all other students at the junior and senior of exploration, discovery and experimentation, levels. Offered fall. 3 credits. within the broad contextual conditions of Installation: Light and Sound Ecology. In this course, art is considered as SCU430A presenting an ideological position in which one BFA Production and Independent Sculptural installation is a condition of space qualifies his/her relationship(s) both separated Research: Production, that is neither object bound nor object-centric from and within the natural world. This course Conveyance and Presentation. in its existence but rather presents a condition examines both the historic and contemporary SCU428M that is often identified as immersive and landscape of Art and the Environment as As an extension of the Visual Arts and intentionally organized to produce a spatially conditions of cultural interaction and production Technology Environment’s goal that students dependent experience beyond that of the with a consideration for the broader issues develop the ability to generate self-directed “Everyday”. This course will investigate various that have emerged since the 1960s and 1970s work, the Department of Sculpture seeks applications and approaches to subject of through activism. Existing at the intersection to provide each student with opportunity to Installation with an emphasis on contemporary of art, science, technology and ecology, develop the skills and knowledge to identify and practices using light and sound as a means of Environmental Art often functions to inform sustain an independent practice. This course is constructing space and form. Primary to this and/or interpret natural conditions and the designed to increase student awareness of the course are the understandings of light (lighting) processes associated with both “non-human” current art discourse and the ability to use that as both a material and structural element and “human-made” constructions. It may also knowledge as a means of awareness within the with regard to organization and presentation educate us about environmental issues and production of their own work. This educational and the combined relationship of sound as concerns. This course introduces and provides process embraces a variety of approaches to an immersive component in the production of a context for this area of interdisciplinary basic problem-solving skills measured against installation-based works. Required at the junior exchange and artist production by examining the contemporary practices of the discipline. In level for all Sculpture majors and open areas commonly known as Land Art, Eco Art, cooperation with a major-day faculty, students to all other students at the sophomore Environmental Art, Art and Science, ArtSci, are expected to develop what is often their first level and above. 3 credits. Bio-Art and Art and Technology. Open to significant independent work. For BFA students all students. 3 credits. the focus of this course centers on artistic Prerequisites: SCU229 Basic Materials: production, conditions of conveyance and Processes + Techniques or SCU229A Presentation.Required at the senior level for Fundamental Structure: The Aesthetics BFA Production and Independent all sculpture majors for BFA development and of Materiality Research: Research open to junior level sculpture students as an and Production. elective offering for independent research open SCU427M to all other students at the junior and senior Sculpture Special Topics: The As an extension of the Visual Arts and levels. Offered spring. 3 credits. Architecture of Space Technology Environment’s goal that students SCU435 develop the ability to generate self-directed The primary focus of this course is the work, the Department of Sculpture seeks Sculpture: Aesthetic/ investigation of interior and exterior spaces as to provide each student with opportunity to Funcational Structures defined by preexisting architectural elements develop the skills and knowledge to identify and SCU429 and structures. Students are encouraged sustain an independent practice. This course is The goal of this course is to expose students to use a wide variety of materials in the designed to increase student awareness of the to the qualitative nature of materiality at a construction of installations. This course current art discourse and the ability to use that fundamental level and to provide them with focuses on the finite conditions of architectural knowledge as a means of awareness within the a formative understanding of the various settings while maintaining a responsive production of their own work. This educational aesthetic qualities that materials possess. attitude to the possibilities suggested by these process embraces a variety of approaches to In other words this course introduces how site-specific explorations particularly in terms basic problem-solving skills measured against materials influence the meaning of a work of of the various narratives embedded within the contemporary practices of the discipline. In art. This course addresses how the qualities of a given location. Students will be expected Course Catalog Sculpture 182

to construct on average two different works Sculpture: Internship alternating between interior and exterior spaces SCU499 over the course of the semester. Students will Elective credit can be given on a case-by- also be expected to participate in discussions case basis for an internship developed by centering on readings dealing with the student through the career services office, theoretical concerns of Architecture, its impact with advance permission of instructor and on sculpture and its ability to both define and/ head of department. or modify conditions of site-specificity and installation as with regard to sculpture and sculptural-based work. 3 credits. Sculpture: Art and Public Space SCU49X This studio-based sculpture and installation Sculpture Special Topics: class investigates the production and reception Sculpture Multimedia: Space of art in the context of the public space. Central to Time - Linear/Non-Linear to the course will be the development of the SCU441 student’s individual creative desire to engage This course is designed to explore materials different kinds of space. Practices of art and (traditional and non-traditional) and ideas public space extend from the earliest known of sculpture outside of the formats usually civilizations. This class will introduce historic associated with it. The goal is for students to examples and examine recent developments push the boundaries of sculpture as installation in terms of participatory art, community art, art, video, and film. Projects will deal with interactions, place-based art, public art, site visibility and invisibility, ephemerality, sound, specific art and art in public places, both time, gender, and social issues in relation to locally and in broader international situations. sculpture, and will use indoor and outdoor Students who work with public space in site-specific or performance-oriented formats. the context of communication such as the Fundamental aspects of this course are the Internet, social media or locally as a condition analysis, expression, experimentation, and of collectives and collaboratives might find deconstruction of existing values and the this interdisciplinary condition an interesting reconstruction of one’s own relation to popular alternative beyond the normal space for art culture, theory and other fields of interest (such production. Open to all students. 3 credits. as science, music, philosophy, etc.). 3 credits.

The Rhetorical Object: Conceptual Costructions SCU470 This course focuses on student intent with regard to artistic production and their ability to allow for audience entry into a dialogue concerning the conceptual issues forwarded by their work. Students are expected to identify the content of the work they would like to explore via a rhetorical method that embraces an interconnected relationship between practice and theory as part of a project-based approach for the production of self-directed work. Required at the junior level for all Sculpture majors and open to all junior and senior level students. Offered fall. 3 credits.

Prerequisites: SCU229 Basic Materials: Processes + Techniques or SCU229A Fundamental Structure: The Aesthetics of Materiality Course Catalog Sculpture 183 Course Catalog Social/Natural Science 184

Visual Anthropology: relevance for appreciating modern world social, Social/Natural Ethnographic Film Survey economic and ecological problems. The course SNS321 addresses contemporary issues of human Science Visual anthropology is an important growing choices and culture change. 3 credits. subfield of cultural anthropology. The course focuses on how anthropologists have used Basic Theories of Psychology visual media of various kinds, especially India: Culture and Society SNS308 ethnographic film, to record, document and SNS380 This course will offer an overview of the basic study human cultural and social diversity Once the jewel in the crown of the British theories of psychology and how they apply worldwide. A series of ethnographic films, Empire, India has some 5,000 years of artistic to human development. We will explore readings and class discussion will explore tradition and architectural heritage. This course the questions of what motivates people to this method of anthropological data collecting focuses on the essential role of the visual do what they do. How and why do people and analysis. As a counterpoint to earlier, in India’s ancient and modern cultural and change as they grow from infants to adults? popular, western cultural biases in visually religious traditions. The creation and nature How do we develop in our ability to play, to “representing” non-western, non-industrial of visual imagery are explored in sculpture, work, to love and to be ethical human beings? peoples as “romantic,” “noble,” “savage,” temples, palaces, persons, symbols, times and The course will cover the major personality “enigmatic,” “curiosity,” anthropology’s film places. From bustling cities to remote villages theories of Freud and his understanding of studies sought a stronger objectivity. Did they and pilgrimage sites, from beggar to Brahmin the unconscious, Erickson, Jung with his succeed? Worldwide, indigenous peoples to Hindu gods and goddesses, the course description of the shadows and archetypes now make extensive use of visual media/ explores the “divine image” in India. 3 credits. in the human mind and Rogers’ humanistic communication to reflect on their “contested psychology as well as learning theories and identities.” How has visual anthropology helped systems of moral development. The course in that effort? From the 19th century’s still Human Antiquity will also cover the major feminist critiques of photographs to today’s cyberspace, visible SNS381 these systems. There will be a brief overview culture and visual media interface. The course The anthropological study of human of psychological problems such as major reviews ethnographic film as part of that evolution, from human origins through the depression, schizophrenia, phobias, etc., as communication process. Course fee required. formation of major early civilizations. Course well as some methods of treatment. 3 credits. 3 credits. emphasis is on understanding the changing nature of the relationship between human biology, the environment and adaptation Abnormal Psychology Traditional Tribal Art of culture as a way of life. Slides and films SNS309 SNS357 help describe archaeological sites and the How does the psychological community, the Specific cultures of sub-Saharan Africa are paleoanthropological theories and methods legal community and society at large determine reviewed through their visual arts and ritual. used in studying human prehistory. Course what is abnormal? How do we as individuals The goal is to understand how each group’s fee required which allows for a course visit to make decisions about what is acceptable history and cultural context influence the the Cleveland Museum of Natural History’s and unacceptable behavior? How do culture, creative process (use of symbols, style, media, Hamann-Todd Osteological Collection. This is religion and geographical location influence and technique) and shape the aesthetic one of the world’s largest and most thoroughly the definitions of normal behavior? It is these response. Some comparative materials documented collections of primate skeletons, questions and others we will explore in this from Oceania, India, and North America with all major groups represented including class examining the diagnosing, treatment are also examined. 3 credits. humans, apes, prosimians, and New and Old and experimental study of psychopathology. World monkeys. 3 credits. Through lectures, case presentation, videos and required readings, you will develop an Anthropology appreciation, understanding, and knowledge SNS378 Tribe vs. Nation: Political of behavior labeled as “abnormal.” You will also The course is an introduction to the nature of and Cultural Survival enhance critical thinking skills, utilize methods culture and a comparison of contemporary SNS479 of naturalistic observation and gain a sense of western and non-western cultures worldwide. The course is an anthropological examination compassion and sensitivity for those who live Readings, films, slides and class discussion of the impact of technology and “western” with mental health disorders. 3 credits. help review cultural similarities and differences industrial development on indigenous in subsistence technology, language, social populations worldwide. Assumptions posed organization, politics, religion and art. An in the concepts “progress” and “development” analysis that views culture as humankind’s are examined by in-depth review of traditional most important adaptive tool, a strategy society and culture change among, for instance, for survival, also suggests anthropology’s the Balinese, ethnic groups in Mali, West Africa Course Catalog Social/Natural Science 185

and Native American in the United States. Bali’s traditional arts, rituals and water temple system of irrigation, Bambara society in Mali and Native American traditional cultures are juxtaposed against the culture change these groups experience with increased global, commercial interdependence. In the 21st century, humankind continues to experience problems of world hunger, population growth, resource depletion, pollution and war. Films, slides and reading review these issues, and peoples, worldwide, to try to consider potential solutions which acknowledge human cultural diversity within the modernization process. An emphasis in the course is a consideration of technological determinism and social choices. 3 credits.

Jung and Creativity SNS484 This course will combine a theoretical introduction to Jung with experiential participation in a dream workshop/small group. The theoretical component of the course will provide an overview of Jung’s understanding of the human psyche with an emphasis on use of symbols and dreams as the “royal road to the unconscious.” Work from the dream workshops is intended to inform the artist’s work. Students will be expected (in addition to the usual preparatory reading) to bring dreams weekly and to be willing to apply material from those dreams to their own creative process. 3 credits. Course Catalog Technology and Integrated Media 186 Environment (TIME–Digital Arts)

Animation II technical skills in basic electronics. For the Technology and TIM210 purpose of this course, robotics is defined An advanced, project-based course whose as a system that uses at least one sensor, a Integrated Media goal it is to create finished Animation or Motion microprocessor that collects and interprets Graphics pieces. Emphasis will be on After data from the sensor and at least one external (TIME–Digital Effects and/or Apple Motion. Priority enrollment electronic device that is activated by the to TIME and Graphic/Communication Design incoming sensor information. 3 credits. Arts) majors. This course covers contemporary issues in Motion Graphics and Broadcast Introduction to Game Design Design. In this class, students will visualize, TIM215 Moving Images in Space: develop, and realize various creative solutions Game design allows artists to create Media Installation for tasks in 2D and 2 1/2D animation projects. meaningful play and interactive experiences TIM206 Concept development, visual storytelling, in any medium. This introductory course, This class serves as an introduction to and montage theory, typography, sound design, which explores both digital and non-digital exploration of media installation including the and principles and meanings of movement games, aims to provide a critical vocabulary use of video, sound, light, and electronic media will be explored. The final project will be a and historical context for analyzing games as when combined with space and various media. broadcast-ready or festival piece.If you’re not art well as it will also focus on the skills and Lectures will cover concepts and presentations sure what sort of work is created in the realm techniques necessary to incorporate game of artists working in various capacities with of motion graphics, please check out: http:// design into your ongoing art practice.Through installation and electronic media. Course work motionographer.com/ Required materials: A a combination of theoretical readings, case will be hands-on practice of techniques and 7200 rpm hard drive, a set of headphones and studies, critical analysis and design exercises, concepts presented in lecture, discussion a notebook. 3 credits. we will explore the expressive potential of of readings, and critique of student projects. games. You will learn to: identify, create and This class will involve doing media/electronic manipulate core game elements such as media assignments centered around the idea Sound Design player’s objective; rule systems; feedback of the ‘media as a message’ and ‘interactivity’. TIM211 structures; win-loss scenarios; competitive Students will work with different material This class is focused on aspects of sound and cooperative dynamics; and different and media and use video, sound and light to design related to the practice of sonic arts. modes of social interaction.Students will get an prepare installations. We will use FinalCut Pro, Sound art is flourishing in museums and overview of the game development and design GarageBand, Flash, and other tools to support galleries, on networks, and performed at process. Emphasis will be placed on manual elements in installations that use images, text festivals and performance venues around the and conceptual skills, creating character and and sound. 3 credits. world. Like many genres of contemporary scene modules, interface planning and game art, sound art is interdisciplinary with structure. On completion, students should be investigations in: digital manipulation of sound, able to demonstrate familiarity with production Intro to Animation sound synthesis, sound installation, sound of graphic components optimized for game TIM209 sculpture, psychoacoustics, field recording, usage, interactivity and an overall perspective The goal of this class is to gain a basic noise composition, integrated sound and of the game industry. 3 credits. understanding of the fundamentals of image works for pre-recorded presentation or movement, timing and rhythm and how they performed live. The influence of these forms on convey mood and character, even in the most popular music, television and cinema scores Game Testing and Level Design abstract sense. Animation is the artificial will also be explored. 3 credits. TIM218 movement of an otherwise static object. By Introduction Game Testing/Level Design for moving that object incrementally - whether Game Design will cover 3D level design for by position, color, shape, size, etc., we can Interactive Robotics video games. Students will learn how to create create movement. By synching that movement in Art and Design and use design documents and sketches/ to sound, we emphasize the movement and TIM214 diagrams as well as the student will be able to create further depth and meaning.Required This class will provide a foundation to enable create a complete level diagram and implement materials: A 7200 rpm hard drive. 3 credits. students to create interactive projects that it using a commercial game engines. Student incorporate electronic components, micro- will fully test all stages throughout the level controllers and simple programming. The process. Students will use UDK engine. focus is on creating expanded and customized Students will learn tools/skills and concepts computer and human interaction that goes used to create game levels in 2D and 3D level beyond the common keyboard and mouse design by using architecture theory, concepts inputs. This foundation consists of an overview of critical path and flow, balancing, lighting, of related artwork and theory, and fundamental gameplay experience, and various storytelling Course Catalog Technology and Integrated Media 187 Environment (TIME–Digital Arts)

for level design. Students will learn how to Documentary Video readings, and critique of student projects. This setup testing conditions in different process of TIM241 class will involve doing media/electronic media making a game/level. Required: Requirement This is an advanced elective video course: This assignments centered around the idea of the for Game Majors and Open Elective. 3 credits. course is designed to improve observational, ‘media as a message’ and ‘interactivity’. analytical, organizational, creative and 3 credits. production skills. Students will explore the Acting and Directing ways in which digital technology can transform Advanced 3D Animation TIM230 contemporary visual culture, and fracture the TIM308 Acting/Directing is an Intense production predictable. Students will be encouraged to Pre-requisites: Intro to 3D Modeling and Intro course designed for aspiring Art Directors, experiment with new presentation methods, 3D Animation. Screenwriters and Actors who wish to pursue and develop innovative techniques for a career in film and/or animation. The course combining sight and sound, light and word. requires both performance and cinematic Required materials: A 7200 rpm hard drive, a Intro to Animation practice. Directors will create and produce set of headphones and a notebook. 3 credits. TIM309 short scenes taking on the full responsibility of The goal of this class is to gain a basic creating clear communication using the audio/ Prerequisites:: FVPA461 Video Basics 1 or understanding of the fundamentals of visual language of cinema and focusing on the permission of the faculty. movement, timing and rhythm and how they developing and execution of performance on convey mood and character, even in the most screen. Beyond just holding the responsibility of abstract sense. Animation is the artificial successful execution of a project, directors will Motion Graphics/Experimental movement of an otherwise static object. By also switch roles with the actor, working from Animation moving that object incrementally - whether the other side of the lens to better understand TIM304 by position, color, shape, size, etc., we can the acting process and what kind of specific An advanced, project-based course whose create movement. By synching that movement direction an actor needs to perform according goal it is to create finished, broadcast or web- to sound, we emphasize the movement and to another director’s vision. 3 credits. ready Animation or Motion Graphics pieces. create further depth and meaning.Required Emphasis will be on learning After Effects. materials: A 7200 rpm hard drive. 3 credits. This course covers contemporary issues in Experimental Video Motion Graphics and Broadcast Design. In TIM240 this class, students will visualize, develop, and Animation II This is an advanced video course, investigating realize various creative solutions for tasks TIM310 the scope of symbolic and improvisatory in 2D and 2 and a half D animation projects. An advanced, project-based course whose cinematic storytelling. Students will explore Concept development, visual storytelling, goal it is to create finished Animation or unconventional methods of video acquisition, montage theory, typography, sound design, Motion Graphics pieces. Emphasis will be manipulation, processing, editing and display. and principles and meanings of movement on After Effects and/or Apple Motion. Priority Students will be able to delve into media will be explored. Ultimately, the student will be enrollment to TIME and Communication Design hybrids, and rather than established narrative expected to produce two complete pieces. majors. This course covers contemporary forms, underscoring metaphorical poetic 3 credits. issues in Motion Graphics and Broadcast styles that inform the structure of the work. Design. In this class, students will visualize, Emphasize will be towards development of develop, and realize various creative solutions acute observational skills and innovative Moving Images in Space: Media for tasks in 2D and 2 1/2D animation projects. visualization techniques, encourage divergent Installation Concept development, visual storytelling, thinking and cognitive flexibility. This course TIM306 montage theory, typography, sound design, is for students who have a sustained interest This class serves as an introduction to and and principles and meanings of movement in using video technology as part of their exploration of media installation including the will be explored. The final project will be a art-making. Note: Experimental Video (or use of video, sound, light, and electronic media broadcast-ready or festival piece.If you’re not Motion Graphics) is a required course for all when combined with space and various media. sure what sort of work is created in the realm Video majors and Animation majors. Required Lectures will cover concepts and presentations of motion graphics, please check out: http:// materials: A 7200 rpm hard drive, a set of of artists working in various capacities with motionographer.com/ Required materials: A headphones and a notebook. 3 credits. installation and electronic media. Course work 7200 rpm hard drive, a set of headphones and will be hands-on practice of techniques and a notebook. 3 credits. Prerequisites:: FVPA461 Video Basics 1 OR concepts presented in lecture, discussion of permission of the faculty. Course Catalog Technology and Integrated Media 188 Environment (TIME–Digital Arts)

Sound Design finished work that will be shown in an exhibition Experimental Video TIM311 planned, managed and coordinated by the TIM340 This class is focused on aspects of sound students under the direction of the instructor. This is an advanced video course, investigating design related to the practice of sonic arts. Offered spring. 3 credits. the scope of symbolic and improvisatory Sound art is flourishing in museums and cinematic storytelling. Students will explore galleries, on networks, and performed at unconventional methods of video acquisition, festivals and performance venues around the Intro to Game Programming manipulation, processing, editing and display. world. Like many genres of contemporary TIM319 Students will be able to delve into media art, sound art is interdisciplinary with Required of junior Game Design majors. hybrids, and rather than established narrative investigations in: digital manipulation of sound, Offered spring. 3 credits. forms, underscoring metaphorical poetic sound synthesis, sound installation, sound styles that inform the structure of the work. sculpture, psychoacoustics, field recording, Emphasize will be towards development of noise composition, integrated sound and Game Production II acute observational skills and innovative image works for pre-recorded presentation or TIM321 visualization techniques, encourage divergent performed live. The influence of these forms on This course is an advance team based course thinking and cognitive flexibility. This course popular music, television and cinema scores where the whole class is one team for one is for students who have a sustained interest will also be explored. Offered fall and spring. semester and continuation from Game in using video technology as part of their 3 credits. Production I. Students will create one fully art-making. Note: Experimental Video (or functional Indie Game or Experimental game Motion Graphics) is a required course for all during the semester. Student will work to Video majors and Animation majors. Required Interactive Robotics develop game from interactive technology that materials: A 7200 rpm hard drive, a set of in Art and Design extends beyond the traditional videogame. headphones and a notebook. 3 credits. TIM314 This could include education, medical, training, This class will provide a foundation to enable autism, conceptual/artistic, policy exploration, Prerequisites: FVPA461 Video Basics 1 OR students to create interactive projects that analytics, visualization, simulation, the arts, and permission of the faculty. incorporate electronic components, micro- therapy. This class is required game majors and controllers and simple programming. The other advance digital majors. Student activities focus is on creating expanded and customized in this course will reflect the game production Documentary Video computer and human interaction that goes pipeline, including project pitches, definition TIM341 beyond the common keyboard and mouse of requirements and design detail. Required: This is an advanced elective video course: This inputs. This foundation consists of an overview Requirement for Game Majors. 3 credits. course is designed to improve observational, of related artwork and theory, and fundamental analytical, organizational, creative and technical skills in basic electronics. For the Prerequisites: IME300 Production Seminar: production skills. Students will explore the purpose of this course, robotics is defined Game Production ways in which digital technology can transform as a system that uses at least one sensor, a contemporary visual culture, and fracture the microprocessor that collects and interprets predictable. Students will be encouraged to data from the sensor and at least one external Acting and Directing experiment with new presentation methods, electronic device that is activated by the TIM330 and develop innovative techniques for incoming sensor information. 3 credits. Acting/Directing is an Intense production combining sight and sound, light and word. course designed for aspiring Art Directors, Required materials: A 7200 rpm hard drive, a Screenwriters and Actors who wish to pursue set of headphones and a notebook. 3 credits. Experimentation a career in film and/or animation. The course in Electronic Arts I requires both performance and cinematic Prerequisites: FVPA461 Video Basics 1 or TIM316 practice. Directors will create and produce permission of the faculty. This is a seminar class that guides students short scenes taking on the full responsibility of in the development and realization of a creating clear communication using the audio/ semester long research project in electronic visual language of cinema and focusing on the TIME: Internship arts. Projects can be in a wide range of areas, developing and execution of performance on TIM399 hybrid thinking and intermedia approaches are screen. Beyond just holding the responsibility of Elective credit can be given on a case-by- strongly encouraged. Topics in the theory and successful execution of a project, directors will case basis for an internship developed by history of contemporary art related to current also switch roles with the actor, working from student through the career services office, and emerging practices will also be discussed. the other side of the lens to better understand with advance permission of instructor and The class is designed to allow for synthesis the acting process and what kind of specific head of department. of content from earlier studies into significant direction an actor needs to perform according to another director’s vision. 3 credits. Course Catalog Technology and Integrated Media 189 Environment (TIME–Digital Arts)

Motion Graphics/ Intro to Animation image works for pre-recorded presentation or Experimental Animation TIM409 performed live. The influence of these forms on TIM404 The goal of this class is to gain a basic popular music, television and cinema scores An advanced, project-based course whose understanding of the fundamentals of will also be explored. 3 credits. goal it is to create finished, broadcast or web- movement, timing and rhythm and how they ready Animation or Motion Graphics pieces. convey mood and character, even in the most Emphasis will be on learning After Effects. abstract sense. Animation is the artificial Intro to Electronic Arts: This course covers contemporary issues in movement of an otherwise static object. By Coding, Hacks, and Space Motion Graphics and Broadcast Design. In moving that object incrementally - whether TIM413 this class, students will visualize, develop, and by position, color, shape, size, etc., we can This course is designed for both the realize various creative solutions for tasks create movement. By synching that movement inexperienced and experienced person in 2D and 2 and a half D animation projects. to sound, we emphasize the movement and interested in experimenting with computing Concept development, visual storytelling, create further depth and meaning.Required as a medium for creative work. Weekly montage theory, typography, sound design, materials: A 7200 rpm hard drive. 3 credits. presentations will cover the history, theory and principles and meanings of movement and practice of electronic arts. The approach will be explored. Ultimately, the student will be for the class will be based on computer expected to produce two complete pieces. Animation II enthusiasts’ notion of hacking. Hacking in this 3 credits. TIM410 context is an experimental approach and mode An advanced, project-based course whose of thinking, examining existing technologies goal it is to create finished Animation or Motion and finding new or extended ways to apply Moving Images in Space: Graphics pieces. Emphasis will be on After these in creative practice. Existing computer Media Installation Effects and/or Apple Motion. Priority enrollment scripts will be distributed with instruction and TIM406 to TIME and Graphic/Communication Design one-on-one guidance on how to alter these This class serves as an introduction to and majors. This course covers contemporary to new purposes. No previous knowledge of exploration of media installation including the issues in Motion Graphics and Broadcast programming is necessary. Instruction will also use of video, sound, light, and electronic media Design. In this class, students will visualize, cover creating custom human-to-computer when combined with space and various media. develop, and realize various creative solutions interfaces that allow viewers to experience Lectures will cover concepts and presentations for tasks in 2D and 2 1/2D animation projects. and interact with art works in a variety of ways. of artists working in various capacities with Concept development, visual storytelling, Some possible directions for the work made installation and electronic media. Course work montage theory, typography, sound design, in this class will be interactive video projection, will be hands-on practice of techniques and and principles and meanings of movement interactive sound works, expanded gaming concepts presented in lecture, discussion will be explored. The final project will be a environments, video and audio synthesis, of readings, and critique of student projects. broadcast-ready or festival piece.If you’re not circuit bending sound instruments, computer This class will involve doing media/electronic sure what sort of work is created in the realm program generated animation and program media assignments centered around the idea of motion graphics, please check out: http:// generated high-resolution still images for large of the ‘media as a message’ and ‘interactivity’. motionographer.com/ Required materials: A format printing. Offered spring. 3 credits. Students will work with different material 7200 rpm hard drive, a set of headphones and and media and use video, sound and light to a notebook. 3 credits. prepare installations. We will use FinalCut Pro, Interactive Robotics GarageBand, Flash, and other tools to support in Art and Design elements in installations that use images, text Sound Design TIM414 and sound. 3 credits. TIM411 This class will provide a foundation to enable This class is focused on aspects of sound students to create interactive projects that design related to the practice of sonic arts. incorporate electronic components, micro- Advanced 3D Animation Sound art is flourishing in museums and controllers and simple programming. The TIM408 galleries, on networks, and performed at focus is on creating expanded and customized Prerequisites: Intro to 3D Modeling and Intro festivals and performance venues around the computer and human interaction that goes 3D Animation. 3 credits. world. Like many genres of contemporary beyond the common keyboard and mouse art, sound art is interdisciplinary with inputs. This foundation consists of an overview investigations in: digital manipulation of sound, of related artwork and theory, and fundamental sound synthesis, sound installation, sound technical skills in basic electronics. For the sculpture, psychoacoustics, field recording, purpose of this course, robotics is defined noise composition, integrated sound and as a system that uses at least one sensor, a Course Catalog Technology and Integrated Media 190 Environment (TIME–Digital Arts)

microprocessor that collects and interprets forms, underscoring metaphorical poetic data from the sensor and at least one external styles that inform the structure of the work. electronic device that is activated by the Emphasize will be towards development of incoming sensor information. 3 credits. acute observational skills and innovative visualization techniques, encourage divergent thinking and cognitive flexibility. This course Experimentation is for students who have a sustained interest in Electronic Arts II in using video technology as part of their TIM416 art-making. Note: Experimental Video (or This is a seminar class that guides students Motion Graphics) is a required course for all in the development and realization of a Video majors and Animation majors. Required semester long research project in electronic materials: A 7200 rpm hard drive, a set of arts. Projects can be in a wide range of areas, headphones and a notebook. 3 credits. hybrid thinking and intermedia approaches are strongly encouraged. Topics in the theory and Prerequisites: FVPA461 Video Basics 1 OR history of contemporary art related to current permission of the faculty. and emerging practices will also be discussed. The class is designed to allow for synthesis of content from earlier studies into significant Documentary Video finished work that will be shown in an exhibition TIM441 planned, managed and coordinated by the This is an advanced elective video course: This students under the direction of the instructor. course is designed to improve observational, Offered spring. 3 credits. analytical, organizational, creative and production skills. Students will explore the ways in which digital technology can transform Acting and Directing contemporary visual culture, and fracture the TIM430 predictable. Students will be encouraged to Acting/Directing is an Intense production experiment with new presentation methods, course designed for aspiring Art Directors, and develop innovative techniques for Screenwriters and Actors who wish to pursue combining sight and sound, light and word. a career in film and/or animation. The course Required materials: A 7200 rpm hard drive, a requires both performance and cinematic set of headphones and a notebook. 3 credits. practice. Directors will create and produce short scenes taking on the full responsibility of Prerequisites: FVPA461 Video Basics 1 or creating clear communication using the audio/ permission of the faculty. visual language of cinema and focusing on the developing and execution of performance on screen. Beyond just holding the responsibility of TIME: Internship successful execution of a project, directors will TIM499 also switch roles with the actor, working from Elective credit can be given on a case-by- the other side of the lens to better understand case basis for an internship developed by the acting process and what kind of specific student through the career services office, direction an actor needs to perform according with advance permission of instructor and to another director’s vision. 3 credits. head of department.

Experimental Video TIM440 This is an advanced video course, investigating the scope of symbolic and improvisatory cinematic storytelling. Students will explore unconventional methods of video acquisition, manipulation, processing, editing and display. Students will be able to delve into media hybrids, and rather than established narrative 191 Course Catalog Visual Arts + Technologies 192

the technical qualities of their chosen mode discussion, lectures, and studio assignments Visual Arts + of production, is part of its content. By these the social, historical, cultural, technological means they are introduced to practical and context that gave rise to the current practices of Technologies semiotic nature of images and their production collage, assemblage and installation will be in the context of the contemporary by means of elaborated. This course is open to majors from assignments, readings, discussions, and studio all disciplines and students will be encouraged BFA Statement and Exhibition critiques. Open as elective to all majors. This to apply their area of expertise to assignments VAT093 course is required for all sophomore students in and classroom readings and discussion. Open This course is designed to help you in the VATe. Offered fall. 3 credits. to all Students . 3 credits. preparation of this exhibition statement, which is an expository document in which you examine your work and thinking within varied Image and Form II: Reproducibility Criticism as a Studio Practice frameworks. This paper serves as a point of VAT202 VAT241 departure for your oral defense. The length Reproducibility (offered with an emphasis on This course will be of interest to all students for the B.F.A. exhibition statement varies, either 2D or 3D production) introduces the maintaining a studio practice and focuses but the full statement exclusive of footnotes, student to the idea that the uniqueness of the on the role of critical dialogue in forming and bibliography, addenda and illustrations should work of art is not an intrinsic or inherent quality informing studio production. Through modern be no fewer than 1500 words (6 double- of the work itself, but the result of the choice of and contemporary models, students will be spaced, typed pages + illustrations, footnotes media. Consequently since the Renaissance asked to consider the relationship between and bibliography) and no more than ten pages and the advent of Printmaking, the printing what is critically said about a work of art and (2500 words + illustrations, footnotes and press, and bronze casting, multiplicity and how that frame effects the work’s standing bibliography). This paper is meant to answer reproduction have been a part of western in the world. Examples to be considered will the question “what is your practice as an artist, culture. The machine age, photo-reproduction, include: Apollinaire and Picasso; Pollock and and how do you position that practice in your lithography, industrial standardization, Greenberg; Andy Warhol’s practice; Andre culture?” It should represent your beliefs as modularity, fabrication, and multiplicity became Serrano’s Piss Christ; Robert Mapplethorpe’s they are specifically relevant to your work. part of artistic practice. Prints, posters, ready- work; Chris Ofili and the Young British Artists; Your final, revised draft must be completed mades, objects, books, commix, and designed and the television show “Work of Art.” Students and distributed to committee members at utilitarian objects editions, multiples, modules, will develop and participate in projects least two days prior to your oral defense. You and reproductions are now a significant aspect extending from these models as well as will also prepare a shorter, one-page (250 of contemporary art making which abandons giving an intensive look at their own practices word) statement (abstract,) to pass out at your the notion of the unique work Making works and how what they make is changed by the defense. This course is open to all seniors of this kind requires the artist to take into critical dialogue which surrounds making in an regardless of majors and is required by all VATe consideration the how the act of reproduction, academic environment. This course is open to students. Offered spring. 3 credits. or replication constitutes part their work’s form all students. 3 credits. and content. Open as elective to all majors. This course is required for all sophomore students in Image and Form I VATe. Offered spring. 3 credits. FIB/VAT: The Artist VAT200 and Social Practice Image/Form promotes a general understanding VAT267 how images work and are developed, which is Collage and Assemblage This course explores a realm of artistic a fundamental aspect of the Visual Arts. The VAT212 endeavor apart from the Western canon and course introduces the students to the various Collage, assemblage, and installation were the gallery art system. As such, students means by which images can be rendered, such the most radical innovations of the early 20th will work within the greater social context, as by drawing, painting, carving, embroidering, century, reflecting changing attitudes and applying their skills to pressing issues such etching, etc., as well as by digital means, by concepts of art’s form and cultural expression. as urban decay and poverty, ecology (brown appropriation, and by the use of ready-mades. Each of these forms acknowledges the fracture fields, waste, pollution) violence, and other The students are also introduced to the of modern life and the need for new means issues stemming from contradictions between diverse ways in which images and forms can of expression. This course will explore the the wants and needs of the individual and be manipulated, or manifested conceptually relationship between collage, assemblage and the wants and needs of the greater society. and materially by exploring the inter-relation installation through the theoretical platform Histories of artists working in these arenas will between 2 and 3 dimensions, as well as in of painting. Students will learn to discern provide a starting point and a model for student time-based media by the use of collage or the significantly different effects and content work. Each student will research issues that are assemblage. In doing this, we introduce them to of the wide range of approaches each of of personal concern, present their findings to the concept that an image’s “form,” consisting these forms encompasses methodologically the class. This will be followed by discussions of its physical and spatial qualities, as well as and iconographically. Through classroom Course Catalog Visual Arts + Technologies 193

around problem solving and efficacy of critical, theoretical, philosophical background is open to majors from all disciplines and action. Projects will then be developed and to issues surrounding the subjects of style, students will be encouraged to work in their implemented. Open Elective. 3 credits. aesthetics and content. In the studio the area of expertise. 3 credits. students are encouraged to think of their work as an integrative whole consisting of these FIB/VAT: Performance Art: various components. In this context they are Photography/VAT: Installation Intervention/Spectacle required to engage in independent critical and The Constructed Object VAT280 research on topics relevant to their work. VAT326 For this course the working definition of Their research takes the form of both archival This course is a special topic course designed Performance Art is—a piece which uses a and studio work and is presented in both to cover the design, construction and lighting live body, exists in time, and is non-linear. visual and written form. This course is required of installations, stage sets, and performance This class is an introduction to Performance for all junior students in VATe during their spaces. Students will investigate contemporary Art designed for students who are shy and spring semester. 3 credits. applications and approaches to subjects apprehensive about performing and students specifically composed for the camera, and who are extroverted and at ease in front of document installations that exist outside of groups. Workshops include: developing a Collage and Assemblage the studio environment, with an emphasis language of movement, gesture and stance; VAT312 on the genre’s relationship to historical and developing a range of low tech sound, lighting Collage, assemblage, and installation were contemporary theatre. Workshops include and video; juxtaposing activity, image, sound the most radical innovations of the early 20th traditional camera formats, digital cameras, and text; structuring or building a piece; and century, reflecting changing attitudes and advanced studio lighting, basic electricity documentation. We will consider singular concepts of art’s form and cultural expression. and carpentry, with an emphasis on scenery actions, interventions and other strategies Each of these forms acknowledges the fracture design. Students will plan and create small- for generating and developing ideas for of modern life and the need for new means scale models of stage designs; scale up these performance work. Student work for this class of expression. This course will explore the designs, and document their design. This has been diverse and has included costume relationship between collage, assemblage and course will be of special interest to students based work, work using endurance as a central installation through the theoretical platform working in both installation and industrial tactic, collaborative work, public intervention, of painting. Students will learn to discern design. Open to all students. 3 credits. interactive and site-specific work. Skills in the significantly different effects and content editing video and sound, installation, animation of the wide range of approaches each of are useful, but not required. Open elective. these forms encompasses methodologically Hybrid Approaches to Drawing 3 credits. and iconographically. Through classroom and Painting: Digital Media discussion, lectures, and studio assignments VAT327 the social, historical, cultural, technological Emphasis is on integrating digital processes VAT: Internship context that gave rise to the current practices of into studio practice and production. The class VAT299 collage, assemblage and installation will be deals with a spectrum of digital applications in a Elective credit can be given on a case-by- elaborated. This course is open to majors from studio practice including straight forward digital case basis for an internship developed by all disciplines and students will be encouraged output, using digital as a means of producing student through the career services office, to apply their area of expertise to assignments source material as well as actually integrating with advance permission of instructor and and classroom readings and discussion. digital processes into the production of work. head of department. Open to all students. 3 credits. Through slide presentations, viewing actual work, discussions and readings, students will be introduced to the place of the digital VAT: Aesthetics, Style, Painting/VAT: Critical Issues in contemporary studio practice. In studio and Content in Art in Theory/Practice production, students will use varied media and VAT300 VAT316 subjects, both traditional and non-traditional, to Aesthetics Style and Content focuses primarily, This class will focus on how the relationship further develop their analytical and expressive on the acquisition of creative and technical between the visual and the verbal, images, and means in their creative practice. Students are skills in the context of the development of ideas play out in artist’s work. Emphasis will be encouraged to draw from many disciplines original ideas and personal style. Studio work placed on artist statements, writings by artists, incorporating them in the projects presented will consist of the practical exploration of student peer reviews, and written statements. to the class for group critiques. Open to all the relationship between formal, technical, Students will be expected to hone their abilities Students – required of Print and Drawing aesthetic, and stylistic issues relative to the to think critically about visual art through weekly juniors. 3 credits. personal, and thematic subjects of the students readings and writing assignments. This course own choosing. Relative to this, in the seminar portion of the course the students are given Course Catalog Visual Arts + Technologies 194

Criticism as a Studio Practice and classroom readings and discussion. This This class is an introduction to Performance VAT341 course is open to students from all disciplines Art designed for students who are shy and This course will be of interest to all students and is not media specific. 3 credits. apprehensive about performing and students maintaining a studio practice and focuses who are extroverted and at ease in front of on the role of critical dialogue in forming and groups. Workshops include: developing a informing studio production. Through modern Sculpture/VAT: Installation: language of movement, gesture and stance; and contemporary models, students will be The Empire of the Senses developing a range of low tech sound, lighting asked to consider the relationship between VAT35X and video; juxtaposing activity, image, sound what is critically said about a work of art and Installation art breaks away from the singular and text; structuring or building a piece; and how that frame effects the work’s standing object, the pedestal and the detached viewer. documentation. We will consider singular in the world. Examples to be considered will Through this work, it is possible to engage actions, interventions and other strategies include: Apollinaire and Picasso; Pollock and the viewer using all the senses. This studio for generating and developing ideas for Greenberg; Andy Warhol’s practice; Andre course will provide the opportunity to work performance work. Student work for this class Serrano’s Piss Christ; Robert Mapplethorpe’s with materials and methods not traditionally has been diverse and has included costume work; Chris Ofili and the Young British Artists; associated with the visual arts. Lectures and based work, work using endurance as a central and the television show “Work of Art.” Students research will focus on perception—how we tactic, collaborative work, public intervention, will develop and participate in projects understand the world through sight, smell/ interactive and site-specific work. Skills in extending from these models as well as taste, the sense of hearing and kinesthetic editing video and sound, installation, animation giving an intensive look at their own practices cues received from the body. The information are useful, but not required. and how what they make is changed by the provided will provide an environment of Open elective. 3 credits. critical dialogue which surrounds making in an concepts to support and challenge the academic environment. This course is open to student’s work . Students will develop all students. 3 credits. installations in line with their interests and Role of the Artist as Producer concerns.Open Elective. 3 credits. VAT400 Today artist not only make things – they Working Collaboratively produce and practice in a wide array of fields and Group Dynamics Fiber/VAT: The Artist and Social and contexts. . Artist as Producer asks the VAT354 Practice students to consider relative to their production Though the image of the artist is that of the VAT367 the students to question what it means to be solitary individual striving to express their This course explores a realm of artistic an artist, and what is their models of what an vision – the contemporary practice of art is endeavor apart from the Western canon and artists is and what role an artist plays in is in peppered with numerous examples of artists the gallery art system. As such, students the world. The intent is to move them beyond collaborating. This course will focus on how will work within the greater social context, the idea that what an artist does is limited to the presentations of images, and objects applying their skills to pressing issues such what they produce for exhibitions in galleries, have been effected by changing social and as urban decay and poverty, ecology (brown and museums. We seek to explicate that artists cultural perspectives and the technologies of fields, waste, pollution) violence, and other today might work for large corporations, clean reproduction. These extend form something issues stemming from contradictions between up a brown fields site, curate exhibitions, others as simple as organizing a group exhibition, to the wants and needs of the individual and hire fabricators or have assists who all or part the type of social interventions practiced by the wants and needs of the greater society. of the work, which is part of the concept behind the Guerrilla Girls or the work of such entities Histories of artists working in these arenas will the work. This course is designed to stimulate as Gilbert and George, or the collective N55. provide a starting point and a model for student the student to look both inward and out ward. This course through projects, readings, and work. Each student will research issues that are Motivate them to ask themselves what does critiques will explore the dynamic of working of personal concern, present their findings to it means to make artwork in a local, regional, collaboratively. Each exercise will address the class. This will be followed by discussions national and a globalized cultural context? What different processes, skill-sets and interpersonal around problem solving and efficacy of can we call local in an age of Google and Art relationships. Through classroom discussion, action. Projects will then be developed and Basel? And, what can happen to the reception lectures, and studio assignments the social, implemented. Open Elective. 3 credits. of images when they cross cultural boundaries? historical, cultural, technological context Subsequently, students are encouraged to that gave rise to the current practices of experiment with their work relative to the notion collage, assemblage and installation will be FIB/VAT: Performance Art: of audience, the inter relationship between elaborated. This course is open to majors from Intervention/Spectacle meaning and production, the value of labor, all disciplines and students will be encouraged VAT380 the match up of process and idea, hand made to apply their area of expertise to assignments For this course the working definition of versus industrially Coursework will include Performance Art is—a piece which uses a studio, readings, discussion, critiques, etc. live body, exists in time, and is non-linear. Course Catalog Visual Arts + Technologies 195

Required for all fall semester VATe seniors in all applications and approaches to subjects Serrano’s Piss Christ; Robert Mapplethorpe’s majors, open as an elective with approval by specifically composed for the camera, and work; Chris Ofili and the Young British Artists; instructor. Offered Fall. 3 credits. document installations that exist outside of and the television show “Work of Art.” Students the studio environment, with an emphasis will develop and participate in projects on the genre’s relationship to historical and extending from these models as well as Collage and Assemblage contemporary theatre. Workshops include giving an intensive look at their own practices VAT412 traditional camera formats, digital cameras, and how what they make is changed by the Collage, assemblage, and installation were advanced studio lighting, basic electricity critical dialogue which surrounds making in an the most radical innovations of the early 20th and carpentry, with an emphasis on scenery academic environment. This course is open to century, reflecting changing attitudes and design. Students will plan and create small- all students. 3 credits. concepts of art’s form and cultural expression. scale models of stage designs; scale up these Each of these forms acknowledges the fracture designs, and document their design. This of modern life and the need for new means course will be of special interest to students Working Collaboratively and of expression. This course will explore the working in both installation and industrial Group Dynamics relationship between collage, assemblage and design. Open to all students. 3 credits. VAT454 installation through the theoretical platform Though the image of the artist is that of the of painting. Students will learn to discern solitary individual striving to express their the significantly different effects and content Hybrid Approaches to Drawing vision – the contemporary practice of art is of the wide range of approaches each of and Painting: Digital Media peppered with numerous examples of artists these forms encompasses methodologically VAT427 collaborating. This course will focus on how and iconographically. Through classroom Emphasis is on integrating digital processes the presentations of images, and objects discussion, lectures, and studio assignments into studio practice and production. The class have been effected by changing social and the social, historical, cultural, technological deals with a spectrum of digital applications in a cultural perspectives and the technologies of context that gave rise to the current practices of studio practice including straight forward digital reproduction. These extend form something collage, assemblage and installation will be output, using digital as a means of producing as simple as organizing a group exhibition, to elaborated. This course is open to majors from source material as well as actually integrating the type of social interventions practiced by all disciplines and students will be encouraged digital processes into the production of work. the Guerrilla Girls or the work of such entities to apply their area of expertise to assignments Through slide presentations, viewing actual as Gilbert and George, or the collective N55. and classroom readings and discussion. Open work, discussions and readings, students This course through projects, readings, and to all students. 3 credits. will be introduced to the place of the digital critiques will explore the dynamic of working in contemporary studio practice. In studio collaboratively. production, students will use varied media and Each exercise will address different processes, Painting/VAT: Critical Issues in Art subjects, both traditional and non-traditional, to skill-sets and interpersonal relationships. in Theory/Practice further develop their analytical and expressive Through classroom discussion, lectures, VAT416 means in their creative practice. Students are and studio assignments the social, historical, This class will focus on how the relationship encouraged to draw from many disciplines cultural, technological context that gave rise to between the visual and the verbal, images, and incorporating them in the projects presented the current practices of collage, assemblage ideas play out in artist’s work. Emphasis will be to the class for group critiques. Open to all and installation will be elaborated. This course placed on artist statements, writings by artists, Students – required of Print and Drawing is open to majors from all disciplines and student peer reviews, and written statements. juniors. 3 credits. students will be encouraged to apply their area Students will be expected to hone their abilities of expertise to assignments and classroom to think critically about visual art through weekly readings and discussion. This course is open readings and writing assignments. This course Criticism as a Studio Practice to students from all disciplines and is not is open to majors from all disciplines and VAT441 media specific. 3 credits. students will be encouraged to work in their This course will be of interest to all students area of expertise. 3 credits. maintaining a studio practice and focuses on the role of critical dialogue in forming and SCU/VAT: Installation: The Empire informing studio production. Through modern of the Senses Photography/VAT: Installation and contemporary models, students will be VAT45X and The Constructed Object asked to consider the relationship between Installation art breaks away from the singular VAT426 what is critically said about a work of art and object, the pedestal and the detached viewer. This course is a special topic course designed how that frame effects the work’s standing Through this work, it is possible to engage to cover the design, construction and lighting in the world. Examples to be considered will the viewer using all the senses. This studio of installations, stage sets, and performance include: Apollinaire and Picasso; Pollock and course will provide the opportunity to work spaces. Students will investigate contemporary Greenberg; Andy Warhol’s practice; Andre with materials and methods not traditionally Course Catalog Visual Arts + Technologies 196

associated with the visual arts. Lectures and associated with the visual arts. Lectures and based work, work using endurance as a central research will focus on perception—how we research will focus on perception—how we tactic, collaborative work, public intervention, understand the world through sight, smell/ understand the world through sight, smell/ interactive and site-specific work. Skills in taste, the sense of hearing and kinesthetic taste, the sense of hearing and kinesthetic editing video and sound, installation, animation cues received from the body. The information cues received from the body. The information are useful, but not required. provided will provide an environment of provided will provide an environment of Open elective. 3 credits. concepts to support and challenge the concepts to support and challenge the student’s work . Students will develop student’s work . Students will develop installations in line with their interests and installations in line with their interests and concerns.Open Elective. 3 credits. concerns.Open Elective. 3 credits.

Fiber/VAT: The Artist and Social Fiber/VAT: The Artist and Social Practice Practice VAT467 VAT467 This course explores a realm of artistic This course explores a realm of artistic endeavor apart from the Western canon and endeavor apart from the Western canon and the gallery art system. As such, students the gallery art system. As such, students will work within the greater social context, will work within the greater social context, applying their skills to pressing issues such applying their skills to pressing issues such as urban decay and poverty, ecology (brown as urban decay and poverty, ecology (brown fields, waste, pollution) violence, and other fields, waste, pollution) violence, and other issues stemming from contradictions between issues stemming from contradictions between the wants and needs of the individual and the wants and needs of the individual and the wants and needs of the greater society. the wants and needs of the greater society. Histories of artists working in these arenas will Histories of artists working in these arenas will provide a starting point and a model for student provide a starting point and a model for student work. Each student will research issues that are work. Each student will research issues that are of personal concern, present their findings to of personal concern, present their findings to the class. This will be followed by discussions the class. This will be followed by discussions around problem solving and efficacy of around problem solving and efficacy of action. Projects will then be developed and action. Projects will then be developed and implemented. Open Elective. 3 credits. implemented. Open Elective. 3 credits.

FIB/VAT: Performance Art: FIB/VAT: Performance Art: Intervention/Spectacle Intervention/Spectacle VAT480 VAT480 For this course the working definition of For this course the working definition of Performance Art is—a piece which uses a Performance Art is—a piece which uses a live body, exists in time, and is non-linear. live body, exists in time, and is non-linear. This class is an introduction to Performance This class is an introduction to Performance Art designed for students who are shy and Art designed for students who are shy and apprehensive about performing and students apprehensive about performing and students who are extroverted and at ease in front of who are extroverted and at ease in front of groups. Workshops include: developing a groups. Workshops include: developing a language of movement, gesture and stance; language of movement, gesture and stance; developing a range of low tech sound, lighting developing a range of low tech sound, lighting and video; juxtaposing activity, image, sound and video; juxtaposing activity, image, sound and text; structuring or building a piece; and and text; structuring or building a piece; and documentation. We will consider singular documentation. We will consider singular actions, interventions and other strategies actions, interventions and other strategies for generating and developing ideas for for generating and developing ideas for performance work. Student work for this class performance work. Student work for this class has been diverse and has included costume has been diverse and has included costume Course Catalog Visual Arts + Technologies 197 198 199

Section 10: Faculty Listing 200

Foundation Professional Practices Illustration Christi Birchfield Barry Underwood Dominic Scibilia Kim Bissett Maggie Denk-Leigh John Chuldenko Timothy Callaghan Adrian Slattery Robert Kelemen Tina Cassara Larry O’Neal Barbara Chira Animation Lane Cooper Megan Ehrhart Industrial Design Richard Fiorelli Kristen Baumlier-Faber Dan Cuffaro Kidist Getachew Nicholas Economos Carla Blackman Sarah Kabot Knut Hybinette Ed Covert Adam Kadar Kasumi Dennis Futo Kevin Kautenburger Sarah Paul Bob Martinez Jimmy Kuehnle Douglas Paige Scott Ligon Biomedical Art Anthony Santarelli Steven McCallum Amanda Almon Adrian Slattery Thomas Nowacki Beth Halasz Jenniffer Omaitz Thomas Nowacki Interior Design Lorri Ott Ross Papalardo Michael Gollini Sai Sinbondit David Schumick Sherri Appleton Petra Soesemann George Gatta Mark Tekushan Ceramics Scott Richardson Mary Jo Toles William Brouillard Garrett Thompson Charles Tucker Judith Salomon Laura Wolf Royden Watson Tommy White Graphic/Communication Design Jewelry + Metals Adri Wichert Mari Hulick Kathy Buszkiewicz Christian Wulffen Eugene Pawlowski Gretchen Goss Larry O’Neal Matthew Hollern Liberal Arts Chris Auerbach-Brown Drawing Painting Mark Bassett Lane Cooper Lane Cooper Shelley Bloomfield Sarah Kabot Dan Tranberg David Carrier Royden Watson Royden Watson Diana Chou Tommy White Katherine Clark Fiber + Material Studies Lane Cooper Tina Cassara Photography Adina Davidson Bill Lorton Matthew Fehrmann Rita Goodman Nancy McEntee David Hart Game Design Mary Jo Toles Joyce Kessler Knut Hybinette Barry Underwood Diane Lichtenstein Kristen Baumlier-Faber Michael Wallace Olatubosun Ogunsanwo Nicholas Economos Brad Ricca Megan Ehrhart Printmaking Jonathan Rosati Kasumi Maggie Denk-Leigh Gary Sampson Robert Kelemen Jen Craun Dan Tranberg Sarah Paul Liz Maugans Michael Weil Allen Zimmerman Glass Sculpture Brent Kee Young Barry Underwood General Studies Sungsoo Kim Kaja Tooming Buchanan Kristin Thompson-Smith . 201

TIME–Digital Arts Faculty Emeriti Megan Ehrhart Elizabeth Breckenridge Kristen Baumlier-Faber Joseph Cintron Nicholas Economos Roger Coast Knut Hybinette Gwen Cooper Kasumi Kenneth Dingwall Robert Kelemen Carl Floyd Sarah Paul Marla Gutzwiller Robert Jergens Video Lawrence Krause Barry Underwood Marco de Marco Kristen Baumlier-Faber Joseph McCullough Nicholas Economos Edwin Mieczkowski Megan Ehrhart John Paul Miller Knut Hybinette Mary Perelman Kasumi Ann Roulet Robert Kelemen Anthony Schepis Sarah Paul Paul St. Denis Julian Stanczak James Strickland Gerald Vandevier Ralph Woehrman 202 203

Section 11: Administration and Board of Directors 204

Staff Staff Administration Directors Grafton J. Nunes Martin Carney President + Chief Executive Officer Director of Financial Aid

Chris Whittey Bruce Checefsky Vice President of Academic + Faculty Affairs Director of Reinberger Galleries

Almut Zvosec John Ewing Vice President of Business Affairs + Chief Director of Cinematheque Financial Officer Anne Gates R. Michael Cole Director of Academic Services Senior Vice President of Institutional Advancement Amy Goldman Director of the Career Center Mark Inglis Vice President of Marketing + Communications Margaret Gudbranson Director of Major Gifts and Planned Giving Robert Borden Executive Director of Enrollment + Financial Aid Karen Hudy Registrar Nancy Neville Dean of Student Affairs Susan Iler Director of Marketing and Communications Raymond Scragg Executive Director of Human Resources and Michael Kinsella Inclusion Director of Annual Giving and Alumni Relations

Richard Konisiewicz Director of Corporate, Foundation, and Government Relations

Joanne Landers Director of Admissions

Lisa Kramer Reichel Director of Continuing Ed and Community Outreach

Cristine Rom Director of Gund Library

Richard Sarian Art Director

Matthew Smith Director of Student Life and Housing

Howard Weiner Director of Facilities Management and Safety

Sally Zawatski Controller 205

Board of Directors Board of Directors cont. Michael Schwartz Fran Belkin Board Chair Steven Cencula ’91 Frederick Clarke Frederick Clarke Ron Copfer Vice Chair Joseph S. Dehner ’88 Sam Dolinsky Donald Insul Ruth Swetland Eppig Vice Chair Marsha Everett Meg Fulton-Mueller Ruth Swetland Eppig Cynthia Prior Gascoigne Secretary Robert A. Glick Victor Goldberg, MD William A. Valerian Deba Jean Gray Vice Chair Matthew Greene James P. Grigg Almut Zvosec Joe Hahn, MD Treasurer Dr. Michelle Harris Barbara L. Hawley John B. Schulze Sally Stecher Hollington Vice Chair Donald Insul William R. Joseph Grafton J. Nunes Toby Devan Lewis President + Chief Executive Officer Rex Mason Heather Moore ’93 Grafton J. Nunes Laura Ospanik ’80 Rene Polin ’94 John B. Schulze Michael Schwartz Phyllis Seltzer Rob Siewert Dr. Daniel Simon Karen Skunta ’74 Carey Spencer John W. Spirk ’72 Janet Spreen Meg Stanton Joy Praznik Sweeney ’58 William A. Valerian Piet van Dijk Jeffrey Weiss Kirk Zehnder

Nancy McEntee Faculty Representative Cleveland Institute of Art 11141 East Boulevard Cleveland OH 44106

216.421.7000 cia.edu