MFA Visual NarrativeVisual who know how to navigate today’s competitive creative markets. Part of the extraordinary appeal of the program Where is that it is low-residency. Three intensive eight- week summer semesters at SVA in New York City give you the chance to connect with your peers and professors, to create in-studio and to absorb Artist the Visual Narrative process. Additionally, you are able to access the myriad of creative oppor- tunities in the city and to build a community of colleagues and mentors that supports and Meets inspires. Four semesters of online coursework, critiques, discussions and interactive projects give you the freedom to pursue your passion and live your life—without uprooting it. Author In today’s workplace, culture and creative When words and images come together, they landscape​, ​fresh content, fearless voices and can create powerful visual narratives—stories great stories are needed more than ever. At that can touch hearts, ignite imaginations, MFA Visual Narrative, you’ll develop a fluency change minds and even change the way we in “Visual Writing.” We think of it as a whole see our world—Story First. new language​ and approach to visual storytelling The Visual Narrative MFA at SVA responds to that can take your narrative voice to the next the needs of today’s evolving creative markets by level, giving you the competitive edge in today’s merging the artist and author. It’s an evolutionary creative economy. If you’re ready to dig deep, process that puts story first and gives you the uncover universal truths and live and breathe tools you need to craft your own stories and to story, come join us. help others craft theirs. More than just a degree program, the MFA The world needs compelling stories. Visual Narrative program is a school of thought that immerses you in story. A select group of What’s yours? artist/authors, we are a diverse, tight-knit com- munity where you learn and collaborate in small classes and are mentored by top professionals —Nathan Fox, chair

2 About the Program

unexpected collaborations and off-the-charts creativity. One-on-one mentoring develops in-demand skills for producing films and Whether you want to enhance your work animation, publishing original content, devel- through the power of story or take your oping digital interactive media and winning professional skills to the next level, the MFA loyal audiences in emerging industries where in Visual Narrative, one of SVA’s newest visual storytelling drives creative direction. graduate degrees, is designed to make you The MFA Visual Narrative program gives think Story First, and answer the increasing you the tools to craft your own stories and demand for great stories and storytellers. help others craft theirs. A holistic approach, MFA Visual Narrative is a low-residency program that gives equal WHO SHOULD APPLY emphasis to creative writing and to visual This program is designed for self-disciplined art in all mediums. This merger of art and professionals, educators and students from writing is a powerful tool that we think of all creative areas to explore what it means to as a whole new language. We call it Visual put Story First. A bachelor’s degree or equiv- Writing. And our students are fluent. But alent is required in any subject. Applicants fluent communication takes commitment need to demonstrate proficiency in both and requires total immersion. It’s intense, it’s creative writing and narrative art forms. empowering and it gives new purpose to your creativity. You’ll find that the MFAVN is more YOU WILL: than a graduate program; it’s a new way of „„ Develop an understanding of what story seeing the world. Story First. is and how it functions most effectively A diverse group of carefully curated when visual and written media merge, by students spends three intensive summer res- sharpening your writing skills and inte- idencies at SVA’s NYC campus. Then, two fall grating them into your creative process and two spring semesters engage students in and professional practice rigorous online course work—from anywhere „„ Create original works as both author and in the world. artist within a supportive and transfor- „„ Prepare to compete in creative industries Jim Rugg, faculty, What’s Your Story poster. Small classes, taught by top professionals mative creative community, with visiting such as advertising, video, gaming, film, who understand the range of the competi- artists and mentoring by a top profes- animation, sequential arts, illustration, tive markets, provide an incubator for ideas, sional in your field design and more experimentation and play. The diversity of „„ Connect and collaborate with a profes- „„ Benefit from scholarships, housing grants the class and of the community lends itself to sional network in NYC and beyond and our rolling admissions policy.

4 MFA VISUAL NARRATIVE 5 CASE STUDY the time for myself, not for a client.” Since Looking to Alison Paul, graduation, she has continued her work on that project, re-recording sound and reediting Thomas Slattery for film festival submissions. & Jennifer Brent Alison also wrote and illustrated two Tell Their children’s books, The Crow and Sunday Love, for Houghton Mifflin Harcourt. Stories: Three alisonpaulart.com alisonpaulart.blogspot.com

Students on Why RIGHT AND DIRECTLY BELOW: Stills and material used in Alison’s thesis project. BOTTOM: Alison holds two children’s books she They Chose MFAVN wrote and illustrated.

MFAVN students come from different backgrounds with diverse skill sets, but what usually unites them is a passion for storytelling and a talent for visual arts. The three students we spoke to all used their time at MFAVN to pursue a new medium for storytelling. Alison Paul, an illustrator, made a stop- motion video for her thesis. Thomas Slattery, a car- toonist, created a video game. And Jennifer Brent, a motion graphics designer, turned to live-action film.

ALISON PAUL, CLASS OF 2015 the two things together," she explains. "So In addition to freelance work, artist Alison when I saw this program at SVA, it felt like it Paul teaches illustration at the University of was made for me." Connecticut. When she discovered the MFAVN Alison explored a new medium for her program, she says, "It was literally a dream thesis, creating a stop-motion animation come true." She had always been interested in called Equinox. “Stop-motion is more of a writing, and minored in English as an under- labor of love for me, a personal project, not grad. “I was looking for opportunities to merge work," she explains. "I really enjoyed having

6 MFA VISUAL NARRATIVE THOMAS SLATTERY, CLASS OF 2017 Thomas Slattery earned his undergraduate degree from SVA in cartooning. After college, he freelanced, doing storyboarding and set dressing. He wanted to return to school however. “I really wanted to tell my own sto- ries,” he says. “I came back wanting to focus on writing.” For his thesis he created a video game called “Aura.” What does writing have to do with creating a video game? “The game is narrative-based," he explains. "I figured out the story first and then worked backward to create the game.” His experience with set dressing was good training. “Because it uses environmental storytelling,” he says. Since graduating from the MFAVN program, he has continued freelancing, working for television and film. “I have been shifting my focus to screenwriting, which was a surprise to me,” he says. "MFAVN is an intimate and young program. The students are all really involved. I’m still in touch with everyone. It’s a great support group. We all tslattery.com do different media, but it all comes from a psychickids.tumblr.com narrative place.” instagram.com/tetsuobulletman

OPPOSITE PAGE: Thomas Slattery in his studio. ABOVE: His work includes album covers and comic art.

8 MFA VISUAL NARRATIVE 9 JENNIFER BRENT, CLASS OF 2018 Jennifer Brent—or Jenny Bee—has been freelancing for clients like MTV and Google, mainly doing motion graphics. “I always wanted to do cartooning and animation work. I’m very story-brained," she says. "So with my clients, I’m often thinking, How can I tell a story?” That passion for storytelling made her think about going back to school. “I had initially been a double major in writ- ing and art in college,” she says. “So this pro- gram combined both of my favorite things." Jenny is in her second year of the program now. "The program starts in the summer and you meet your classmates. Classes are nine to five and it’s intense, a big story pressure cooker," she says. "We keep in touch during the year. Those of us who are New York– based try to meet once a week for lunch and discuss our stories. I keep in touch with the international students via Skype.” For her thesis, she is branching into live action, writ- ing and directing a film called Negative Space. "It's a mockumentary," she says.

jennybee.design Jennifer Brent in spring 2018. Jenny’s work includes motion vimeo.com/jennybeedesign graphics, live-action film and illustration.

10 MFA VISUAL NARRATIVE 11 A Hub for the Risograph Community

opportunity to generate a new creative print at SVA community on campus, and a truly effective way to provide an accessible print-production The RisoLAB is an educational print lab education in a box.” dedicated to empowering self-publishing and While the RisoLAB is available to the entire production of Risograph-based printed works, SVA community, as well as outside creatives accessible to the entire SVA community. from fields as diverse as fine art, graphic Nathan Fox, chair of the MFA Visual Narrative design, illustration, and even the worlds of program, explains why he launched the Lab. poetry and literature, it has become a crucial “For a story-focused interdisciplinary visual physical hub that underpins the on-campus storytelling program where the artist is author, summer semester of the MFA Visual Narra- understanding the printing process and project tive program. All MFAVN students undergo management is invaluable. Playing around rigorous training in Risograph printing in their with what print publishing and storytelling can first semester, after which they have unlimited do together is a crucial skill set and a critical access to the Risograph printing facilities, thinking process to learn for any profession.” expanding their design and print skills. As Fox notes, the Riso printing phenom- Fox says, “As a low-residency program, enon is yet another case of artists trans- many students are freelancers­ or working forming a technology intended for mundane professionals. All MFAVN students are use into a powerful tool for self-expression. encouraged to experiment and access the He continues, “Risographs were originally Lab for personal work production, gallery created as automated low-cost, high-yield shows, testing publishing concepts and image duplicators for churches and schools. pushing the capabilities of these amazing Recently, Risographs have enjoyed a resur- machines. Risographs pro­vide an immediate gence through the visual storytelling commu- way to prototype and explore alternative nity, with zines, comics, book arts and exper- print methods and publishing, which was a iments in printed matter. It was this perfect big draw for our students and SVA at large.”

12 MFA VISUAL NARRATIVE 13 SPRING I (ONLINE) CREDITS Digital Short Story 6 Curriculum/ Lecture Series II 0 SUMMER II CREDITS Bridging Image and Context 3 Sample Program Form, Empathy and Character Play 3 Shaping Your Story 3 Visual Writing 3 The MFA Visual Narrative is a flexible, low-residency FALL II (ONLINE) CREDITS program designed for working professionals and Identity in a Digital World 0 students of visual storytelling alike. Three on-site Thesis and Mentor Review I 0 summer sessions are connected by two years of online Thesis Studio I 6 study during the fall and spring semesters. SPRING II (ONLINE) CREDITS Selling Your Story 0 Thesis and Mentor Review II 0 SUMMER I CREDITS Thesis Studio II 6 Analog to Digital: Dynamic Transformations 3 Black and White and One Color 3 SUMMER III CREDITS History of Visual Storytelling 3 Connecting Story to Audience 3 Narrative Writing 3 Presentation and Communication 3 Thesis Production 6 FALL I (ONLINE) CREDITS Creative Script 3 Lecture Series I 0 Story Visualized 3

The most difficult thing as an art- ist-writer is to define a personal style and voice, something that someone else recognizes as ‘yours.’ MFA Visual Narrative encouraged me to explore and take chances in my work. Not to be the next Hemingway

or Picasso, but the first Ryan Ansel.” Anna Eveslage ’15 was awarded a Minnesota State Arts Board Grant to create her thesis book project, Eating Alone, a collection —Ryan Ansel ’15 of fictional vignettes and staged portraits.

14 MFA VISUAL NARRATIVE 15 Course Offerings

“I think the biggest Candidates for the MFA Visual Narrative lesson is that it’s okay to degree must complete at least 60 credits fail. In the end, all those and all course requirements, as well as extra drafts create a produce a successful thesis project to better story and more be eligible for degree conferral. This is a holistic piece of work.” sample of our recent course listings. For —Liz Enright, ’15 our full curriculum, please visit: sva.edu/mfavn/curriculum.

BLACK AND WHITE AND ONE COLOR HISTORY OF VISUAL Beyond the surface and medium, how does visual STORYTELLING storytelling really work? As artists, how do we know This course will examine the evo- what visual choices to make? Where do we place the lution of children’s books, comics, camera and why? How can the audience, characters photography and film as the depar- and story inform our choices? Are there rules and how ture point for different approaches do we break them? In this course, students will examine to telling a story with words and these questions and explore the fundamental building pictures. A thorough history of “I like to make images and blocks of visual storytelling in their own work through a these art forms and their various limited and focused palette. Through collaboration, play points of intersection will be given, tell stories, but I also was and rapid prototyping, students will be given a series of from children’s adventure books to drawn to design. I realized visual story explorations that are intended to disrupt and comic strips and photojournalism, to when I found out about this challenge their assumptions and current working meth- modernist approaches to storytell- program that it was really ods by asking each student to dig deeper, put “story ing, the underground revolution, first” and discover how their decisions as informed contemporary photography and film. narrative story that was at image/story-designers can truly mold and shape their the heart of all that.” narrative approach as both author and artist. —Michelle Nahmad, ’17

16 MFA VISUAL NARRATIVE 17 STORY VISUALIZED SHAPING YOUR STORY Visual storytelling is a language. Advertising, video, As readers, viewers and consum- cartoons, symbols, icons and typography transfer ers of story, we are hard-wired to CONNECTING STORY information at rates that we previously could not have respond to every story we encoun- TO AUDIENCE imagined possible. Today’s content crosses borders ter. In this course, students will Promotion is a key part of marketing, and time at the speed of thought—its meaning often sharpen their creative writing but it is only one part. To market our altered by everyone who receives its signal. In this and visual storytelling skills for work effectively we need to weave course, students will investigate the role of distribution, their thesis projects by focusing SELLING YOUR STORY promotions, sales and tales into a technology and media in creative content, as well as on the “who, how, what, where” Selling your story means telling your story. The creative captivating whole. Do that, and your the significance of editing, design, format and context and, most importantly, “why.” person’s marketing plan can be simple, but it must marketing leads to sales. But what in narrative. They will consider the impact of business From a deep understanding of weave a compelling tale that helps people understand are you selling? Yourself? Your on their practice. Assignments include methods of what story is, students will zero in what has been created. Through frank and personal story? An idea? This course will adapting and creating fictional and nonfictional visual on the specific story they’re telling process one-on-ones, students will find the best pro- be a forum in which to discuss the narratives from original and found texts. Students will and write a complete rough draft. motional tools and processes. Students will develop elements of the thesis project that deconstruct, reconfigure and critically analyze existing Through class discussions, stu- and document their own promotional campaign in a drive each student. By developing a visual narratives such as films, video games, book covers, dents will develop the foundation, thorough marketing plan that is intended to expand marketing plan through discussions, movie posters and graphic novels. shape and scope of their narrative, their audience and professional networks for both their we’ll spot opportunities to highlight establishing a clear yardstick by thesis show and professional practice. Once com- each student’s passions, process VISUAL WRITING which to create, gauge and eval- pleted, each student’s marketing plan will be executed and professional practice—con- This course focuses on the application of mapping uate the relevance of every story in the third summer semester—connecting their story necting each student’s story to his and data visualization techniques for use in concept element in their thesis as they to audience. or her respective audience. development and world-building. Students will identify continue to develop it throughout locations connected to their existing story ideas and the coming school year. Throughout will investigate these locations using documentary the course, we will focus on story media, data collection and other methods of site- development, pitching your story specific research. Students will compile the materials and outlining your plans for produc- Great visual they gather into visual archives and create analog and ing your thesis. digital maps that describe their content. The work pro- duced in this course will function both as a reference FORM, EMPATHY AND for the development of their thesis projects and as a CHARACTER PLAY storytellers means of communicating the spaces that their stories Character and narrative are sym- will inhabit, and the experiences their audiences will biotic; character + choice = story. have navigating them. Sometimes the only way to find a character’s “voice” as a storyteller is to get into challenge our notions character—we must become the character in order to understand it. With lectures on character archetypes, character crisis, defining moments, unconscious desire and design, students will examine the elements neces- of self and truth, sary for creating their own characters. Through improv and role-playing techniques, students will understand how their characters will behave in fictional settings, better enabling them to write and visualize their char- engaging an audience acter creations. to its core.” —Nathan Fox, chair

18 MFA VISUAL NARRATIVE 19 “When you get people together with this kind of talent in the world of story and the world of visual art, all kinds of magic can happen. And it does.” —Craig Coss ’15 Notable Notable AnnAlumni Coddou, ’15 Alison Paul, ’15 Andrea Schmitz, ’16 designer, Fisher Price Toy Box author, The Crow, Sunday animator, motion graphics Clients include: Nickelodeon, Love; illustrator; animator; designer, New York magazine Disney, Target, Walmart, assistant professor, Clients include: Ellevest, Toys R Us Illustration and Animation, Vulture, The Cut, Daily anncoddou.com University of Connecticut Intelligencer Exhibitions: anndorphin.tumblr.com alisonpaulart.com “Ladies in Mograph Girl Gang Gif Challenge,” Thesis Craig Coss, ’15 Feifei Ruan, ’15 “School of Motion Holiday Painter; educator; illustrator, illustrator, comic book artist Card,” “Things Took a Turn Game of Thrones Tarot, Awards: Hiii Illustration Animation Anthology” The Goddess Coloring Book International Competition, andreaschmitzzz.com Clients include: Grand Prix Award, SOI: Chronicle Books, HBO, MoCCA Arts Festival Awards Thomas Slattery, ’17 Williams-Sonoma of Excellence, Gold Medal freelance writer/artist Mentors craigcoss.com Clients include: JimHenson Clients include: Public Art Co, PenguinClassics, Fund, Mary Kay and Benefit Jenny Goldstick, ’15 HarperCollins, Boom!Studios, Cosmetics for Sarah Keho Details on all our mentors IndieCade 2016 BuzzFeed, Mercedes-Benz tslattery.com Official Nominee feifeiruan.com can be found online at: Selected exhibitions: Jenny Bee, ’18 Wordplay Festival, Alexandra Beguez, ’16 freelance animator, motion ComicsxGames at TCAF, illustrator, comic book artist graphic designer mfavn.sva.edu/mentors Babycastles Awards: Latin American Clients include: Google, design.jennygoldstick.com Ilustración 6, Chosen Winner; Zagat, MTV2’s Joking Off, 3x3 Professional Show No. 14, Raphael Mostel, Frederator, Paul Briggs David Mazzucchelli Robbie Tilton Melissa Malzkuhn, ’15 Honorable Mention; General Purchase College Design/ head of story, Disney penciller, artist, inker interactive virtual founder and creative Scholarship, Fine Arts Technology Showcase pbcbstudios.tumblr.com reality design director, Motion Light Lab; Work Center jennybee.design Richard McGuire robbietilton.com digital innovation and alexandrabeguez.com Elinor Carucci illustrator, graphic designer, media strategies manager, photographer comic book artist, animator, Thu Tran Science of Learning Center Jon Bero, ’16 elinorcarucci.com children's book author, visual artist, writer, producer on Visual Language and creative, Apple; live demos, musician, toy designer thutran.com Visual Learning, Gallaudet community outreach, PREVIOUS SPREAD: (top row, Samantha Gorman richard-mcguire.com from left) Michelle Nahmad, Rosa University; cofounder, mentoring, internal digital writer, artist Alexandra Zsigmond producer, Ink & Salt content creation, Chang, Christina Mattison Ebert, Alexandra Barsky; (second row) samanthagorman.net Julia Pott art director, artist Awards: 2018 Fellow, Today at Apple Cady Juarez, Perri Greeley & Carol animator zsigmonda.tumblr.com Obama Foundation jonbero.com Silverman, Kenny Nam, Feifei Ruan. Joe Kelly juliapott.com mezmalz.com Twitter: @dizzymingo (third row) Eva Hall & Luz Rodriguez writer, filmmaker motionlightlab.com Dager, Liz Enright, Thomas Slattery, manofaction.tv/profiles/ Justin Thompson Michelle Nahmad (last row) Barbara Geoghegan, Jie Ren, Shannon joe-kelley production designer O’Halloran, Jenny Bee, Ella Romero. shinypinkbottle.tumblr.com Ross MacDonald illustrator, prop designer ross-macdonald.com

22 MFA VISUAL NARRATIVE 23 Faculty Application Our faculty represents a breadth of expertise, including children’s literature, data visualization, Process theatre direction, graphic novels, printing, APPLICATION REQUIREMENTS publishing and writing. Full biographies of our For detailed instructions, visit: sva.edu/grad/howtoapply „„ Online Application and $80 Application Fee: sva.edu/apply chair and faculty can be read online at: „„ Statement of Intent/Personal Statement sva.edu/mfavn/faculty. „„ Résumé „„ Letters of Recommendation „„ Official College Transcript Nathan Fox Jonathon Rosen Tim Szetela chair, illustrator and painter, illustrator, animator designer, animator, Some applicants may be required to submit the following: comic book guy technologist, mapmaker „„ Lee Aaron Rosen Proof of English Proficiency Lisa Cron actor, researcher Robert Thill „„ Copy of Permanent Residency Card author, story coach artist, author, „„ Declaration of Finances Matt Rota independent scholar „„ Verification of Finances Anelisa Garfunkel illustrator „„ Foreign Transcript Evaluation writer, director, producer Diego Vainesman Christina Roussos design director, DEPARTMENTAL REQUIREMENTS Bill Kartalopoulos director, producer 40N47 Design, Inc. series editor, The Best For specific guidelines about these requirements, visit: sva.edu/grad/deptreq American Comics; publisher, Jim Rugg Ben Zackheim „„ Portfolio—accepted at svagrad.slideroom.com Rebus Books comic book artist, illustrator, writer, producer „„ Visual Narrative and Creative Writing Assignments graphic designer „„ Interview Leonard S. Marcus „„ Theme Essay critic, writer, editor Mark Sable writer for comics, film, live- DEADLINES Stacy Renee Morrison action television, animation photographer and theater For information on application deadlines, visit: sva.edu/grad/timeline

IMPORTANT LINKS „„ FAQ: sva.edu/grad/faq If you come in with 100 percent „„ International students: sva.edu/grad/intl energy, the faculty are going to „„ Tuition and fees: sva.edu/tuition „„ come back with 200 percent, so there’s Visit SVA: sva.edu/grad/visit this never-ending ping-pong game of idea and idea and idea and idea.” —Mary Georgescu, ‘17

24 MFA VISUAL NARRATIVE 25 - 27 - Grand ), 206 accredit-id.org Anthony P. Rhodes P. Anthony Espaillat The Interior Design program leading to the the to leading program Design The Interior Design is in Interior Arts Fine of Bachelor Design Interior for the Council by accredited ( Accreditation MI, Rapids, Grand 305, Suite ville Avenue, 49503-4014. in Art in Teaching Arts of The Master the by is accredited program Education Educator of the Accreditation for Council (CAEP). Preparation in Art Studies Professional of The Master the by is approved program degree Therapy Inc., and Association, Therapy Art American of Standards the Education meets such as profession. the art therapy CREDITS Ltd. Press, Arts © 2018, Visual director: creative Executive Gail Anderson director: Creative Durinick Design: Ryan Kreh Abby Sheilah Ledwidge, Editorial: Sheilah Ledwidge writer: study Case Alejandro Jose photographer: study Case - discrimi does not Arts Visual The School of creed, color, race, gender, of on the basis nate sta marital orientation, sexual age, disability, protected legally origin or other national tus, statuses. make right the to reserves The College policies, time affecting time to from changes announced matters and other curricula fees, in Statements publication. other in this or any constitute do not publications this and other a contract. - - - - . ) to confer the confer ) to ). ), 3624 Market Street, Street, Market ), 3624 www.highered.nysed.gov tooning; Computer Art, Computer Animation Animation Computer Art, tooning;Computer Arts; Fine Film; Design; Effects; and Visual and Design; Photography Interior Illustration; - con and to Studies; Critical and Visual Video; on graduates Arts of Master of the degree fer Theory the and in Critical the programs of Design Research, Practice; Curatorial Arts; the confer and to and Criticism; Writing - on grad in Teaching Arts of Master of degree and Education; in Art the program of uates Arts Fine of Master of the degree confer to Practice; Art in programs of on graduates Design; Design Arts; Computer Writing; Art Illustration Arts; Fine Social Innovation; for Design; Photog Interaction Essay; Visual as degree of Bachelor of Fine Arts on graduates on graduates Arts Fine of Bachelor of degree Car Animation; in Advertising; programs of Media; Products and Related Video raphy, Visual Film; Design; Social Documentary of Master of the degree confer and to Narrative; the of on graduates Studies Professional of Digital Branding; Therapy; in Art programs Photogra Fashion Directing; Photography; ACCREDITATION ACCREDITATION autho been has Arts Visual of The School Regents of Board State York the New by rized ( of Department the U.S. by required Data phy. each for Employment” on “Gainful Education on each be found may programs the above of sva.edu/ge at page individual program The School of Visual Arts is accredited by by is accredited Arts Visual The School of on Higher Commission the Middle States (msche.org Education Philadelphia, PA 19104, 267.284.5000. The 19104, 267.284.5000. Philadelphia, PA - is an insti on Higher Education Commission the by agency recognized accrediting tutional and the Council Education of Secretary U.S. Accreditation. on Higher Education is an accredited Arts Visual The School of the National member of institutional and Design Art Schools of of Association (nasad.arts-accredit.org - . MFA VISUAL NARRATIVE VISUAL MFA Facebook: RisoLAB Facebook: @RisoLAB Twitter: @RisoLAB Instagram: facebook.com/MFAVisualNarrative instagram.com/mfavn pinterest.com/mfavn twitter.com/mfavn RISOLAB RISOLAB ED CLASSES CONTINUING Riso including currently of classes, range a offers MFAVN graph printing and graphics, and workshops in world-building in world-building and workshops and graphics, printing graph more: book publishing. Learn and children’s sva.edu/continuing-education/visual-narrative We encourage potential students to visit our department our department visit to students potential encourage We are If you time. any at conversation exploratory and welcome our sign up for a storyteller, spirit of with the artist a visual For mfavn.sva.edu. at Bulletin The Storyteller’s newsletter, Admissions Graduate contact the application, about questions . 212.592.2107at or email [email protected] , chair Fox Nathan operations of , director McCabe Joan manager Spinelli, project Lucea 212.592.2388 Tel: [email protected] Email: sva.edu/mfavn Site: mfavn.sva.edu site: Department people who thought about people who thought about I felt like I found a home and a home and I found like I felt

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translated them so differently.” them translated things in a similar way to me, but but me, to in a similar way things Contact Us ’17 —Ella Romero, School of Visual Arts

209 East 23rd Street, NYC sva.edu/grad