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This course provides an introduction to clay as a material. Participants will be introduced to a wide variety of methods and techniques to build, decorate, and glaze ceramic. Demonstrations in Hand-building, coiling, slap-building and surface application including glaze development and application, slip decoration and firing methods, will give students a proficiency in working with clay and in the ceramic department. Introductions to the rich and complex history of ceramic through readings, lectures and museum visits, will provide students with exposures to the critical discourse of contemporary ceramic. This is primarily a beginner's course but open to all levels of students. Readings will vary but typically include, Hands in Clay by Charlotte Speight and John Toki. Vitamin C: Clay and Ceramic in Contemporary Art by Clare Lilley. Ten thousand years of pottery by Emmanuel Cooper. 20th Century Ceramics By Edmund de Waal. Live Form: Women, Ceramics, and Community by Jenni Sorkin. The course will look at artist like Magdalene Odundo, George E. Ohr, Shoji Hamada, Roberto Lugo and Nicole Cherubini as well as historic ceramic from the Art Institutes of Chicago?s collection. Students are expected to complete 3 projects by the end of the semester, Biweekly readings will be part of the course.

Why are we fascinated with con artists—both real and imagined? In this online writing intensive course, we will deepen the skills of argument-driven composition as we explore the sometimes tenuous boundary between authenticity and duplicity. We will examine the con artist as the both the protagonist and antagonist in fictional works, as well as the subject of “true crime” books and documentaries. These materials will inform multiple argument-driven essays which students will draft and revise over the course of the semester. Students should expect to write 15-20 pages of formal, revisable writing, in addition to homework exercises and in-class writing. By providing guided experience in college-level writing, this course forms the necessary foundation for FYS II and upper level Liberal Arts classes.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

FYS II are theme-based writing courses designed for first-year students, with an emphasis on further developing the foundational writing skills students learned in FYS I. Students will continue to hone the intellectual skills of reading critically, and writing responsively, which forms the basis of each student's career at the School. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds, which may include critical, analytical and argumentative essays, and must include the research paper. It is a policy of the department that at least one essay be a research paper which may involve searching for sources in a library or online, learning to make citations, and preparing an annotated bibliography. A significant amount of time is devoted to the craft of writing, and more sophisticated methods of argumentation and use of evidence and developing independent claims and ideas are explored. Students should expect to write 20-25 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing, short homework exercises, and workshopping of student work may be included. Individual meetings to discuss each student's papers should be expected.

This class is geared toward students-at-large who are veterans of thee US military. Students will learn the fundamentals of sculpture, ceramics and photography and examine them in a conceptual context. They will then use these resources to express their military experience through these art forms. Emphasis will be on process, exploration, and discussion. The class will be taught primarily by US vet Richard Casper with supplemental instruction from SAIC faculty in Ceramics and Photography

In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses.

The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.

Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed.

This team-taught class is an intensive, three-week immersion in comics. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. Students work with faculty one-on-one, participate in group critiques, and attend lectures prepared by the faculty members.

This team-taught class is an intensive, three-week immersion in comics. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. Students work with faculty one-on-one, participate in group critiques, and attend lectures prepared by the faculty members.

This team-taught class is an intensive, three-week immersion in comics. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. Students work with faculty one-on-one, participate in group critiques, and attend lectures prepared by the faculty members.

This multilevel class is for students with or without experience in wheel throwing. Beginning students are introduced to ideas, materials and techniques for throwing vessels. They acquire the necessary skills to construct and analyze a wide range of vessel forms. Intermediate and advanced students continue their individual development of throwing, glazing and firing kilns. Course discussions focus on issues around the vessel to acquire critical understanding of containers and their functions, as well as using the wheel as a means for constructing sculptural forms.

This multilevel class is for students with or without experience in wheel throwing. Beginning students are introduced to ideas, materials and techniques for throwing vessels. They acquire the necessary skills to construct and analyze a wide range of vessel forms. Intermediate and advanced students continue their individual development of throwing, glazing and firing kilns. Course discussions focus on issues around the vessel to acquire critical understanding of containers and their functions, as well as using the wheel as a means for constructing sculptural forms.

This course develops drawing skills with an emphasis on figure gesture and proportion along with a wide range of media. Students are taught to sketch from a live model while communicating design concepts in clothing with style and expression.

For the beginning student this course offers a concentrated introduction to the entire stencil making and printing process. The advanced student may explore the more sophisticated techniques of digital and photographic stencil-making, photo-mechanical darkroom and printing work.

This course offers instruction in various methods of casting, including simple plaster molds, hydrocal-cement casts, simple body casts, thermal-setting rubber molds, wax, terra cotta, and paper casting. Students are advised to bring objects they desire to cast. (No hot metal casting in this course.)

This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

Beginning, intermediate, and advanced levels are given technical guidance for exploration of the formal and expressive properties of woven structures. Introductions to the preparation of the loom and basic weaves are presented to beginners. Intermediate and advanced students are introduced to a conceptual focus and a technical vocabulary and encouraged to develop individual direction. Group as well as individual critiques are an important part of this course.

Beginning, intermediate, and advanced levels are given technical guidance in the use of dyes and pigments on fabrics. Both hand-painting and -printing processes are explored. The technical vocabulary may include: silkscreen, photographic techniques, stencil and stamp printing, and direct painting. Intermediate and advanced students are introduced to a conceptual focus and a technical vocabulary and are encouraged to develop individual direction. Exploration of ideas will be augmented through research, discussions, group and individual critiques, slide presentations, and field trips.

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

Artists’ Books is a beginning/intermediate level course that focuses on the fundamental techniques of bookbinding so as to be able to design and produce one or an edition of artists’ books and boxes. The class begins by learning a range of traditional binding techniques, discussing material choices, and learning about the history of artists’ books. Later on breaking out of the box to take risks, explore concepts and unconventional materials will be strongly encouraged for individual projects. In addition, the intention of this class is to meld your own studio work and personal expression with the form of artists’ books.

This course explores the interpretation of the landscape using both drawing and painting mediums. The class works both inside and outside of the studio, taking advantage of the natural and architectural sites of Chicago adjacent to the School.

This course explores the flexibility of cut & sew knitwear. From the comfort of the ubiquitous T-shirt to high performance athletic wear, fashion made with pliant knitted fabrics is everywhere. In its brief history since the invention of the button-less shirt in jersey fabric, sewn knitwear has ushered in radically modern dress through sportswear, dancewear, and athletic wear. Designers, stylistic innovation and technological processes are further examined through lectures and case studies. Students will explore the variations and design potential of flexible knitted fabrics, and the considerations, methods, and equipment to assemble and finish designs cut from knit fabric. Designers, stylistic innovation and technological processes are further examined through lectures and case studies. These include fashion designers Stephen Burrows, Rudi Gernreich, Xuly Bet, Coco Chanel, or Donna Karans 5 easy pieces, as well as in iconographic performances such as by Nicolais Louis Dance, or Martha Grahams “Lament’, or contemporary artists such as Erneste Neto or Malin Bulow. Students will explore the variations and design potential of flexible knitted fabrics, and the considerations, methods, and equipment to assemble and finish designs cut from knit fabric. They will drape, make patterns and block, and stitch finished garments from their design and research; first in a test fabric with similar properties, and then in a material, color and detail (optional) of their choice.

In this workshop students develop a practical understanding of the procedures used by costume designers and their assistants and crew in film and television production. Weekly lectures and hands-on demonstrations focus on projects including breaking down a script based on character and scene, doing research towards developing characters through costume choices, and techniques used to present those choices to the director and producer. Students break down a script from a show in current production. Final critiques include presentation of the breakdown with clip file photos and drawings of their costume choices for the entire script.

Through the design, planning, and production of a single large-scale ceramic sculpture, students will gain both significant material knowledge and technical proficiency in numerous important hand-building principles and methods. Although for the purposes of the class these techniques will be specifically directed towards building big, they are broadly applicable to all-ceramic processes and will serve students well however they choose to work in the future. Week one will focus on material considerations for large-scale building, clay mixing, stock preparation, and planning through sketches and small-scale clay or digital models. Weeks two through four will focus on construction, preliminary shaping, and sculpting techniques, such as darting and gusseting, stretching, splitting and patching, paddling, carving, compression, and skim coating. Weeks five and six will cover detailing and finishing techniques such as abrasion and brushing and firing and surfacing. Some prior experience with clay and hand-building is beneficial, but not required.

In this course, students will gain exposure to 'real-world' design practice, while developing a range of wood-shop skills. Working closely with a local furniture and home-goods company Offcut, students will design and prototype tabletop objects to be exhibited at the Offcut showroom in Chicago. Through a series of informative presentations, lectures, field trips and skill-building exercises, students will explore many of the challenges facing designers today; financial, social and environmental. Course readings and discussions will vary, but typically address topics that will help students contextualize different approaches to designing objects while engaging in contemporary cultural concerns of material life cycles and sustainability. Some of the designers and texts we will examine throughout the semester include, but not limited to: Bruno Munari – Art as Design, Junichiro Tanizaki – In Praise of Shadows, Soetsu Yanagi – The Beauty of Everyday Things, Seetal Solanki – Why Materials Matter, Monica Khemsurov & Jill Singer – How to Live with Objects. The course will consist of introductory skill-building exercises followed by a main project to design an accessory or furniture piece from offcuts of wood provided by Offcut.

This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.

This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.

This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.

This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This course is a comprehensive survey of the history of furniture, including relevant information on residential architecture, the decorative arts and interior design, from the Neolithic Era until the Twenty-First Century. Special attention is given to the developments that have remained most influential within furniture design today, with particular emphasis on the ancient Egyptians, Greeks and Romans, the Middle Ages and the Renaissance, the Baroque, Rococo and Neoclassical eras, revivalism in the Nineteenth Century, early Modernism in the Arts & Crafts and Art Nouveau movements, Art Deco, the Bauhaus and the International Style, Mid-Century Modernism, Late Modernism and Postmodernism. Through extensive lectures and readings, special focus in this class is devoted to the relationships between furniture and societal customs throughout history, the rise of furniture?s status as a fine art during the Baroque, Rococo and Neoclassical periods, the influence of industrialization, mass production and new technologies and materials on furniture manufacturing in the nineteenth and twentieth centuries, furniture?s role in helping to create and define architectural space within interiors of the twentieth and twenty-first centuries, and the role of individual narratives in developing unique identities and meanings for furniture throughout history. Students will complete a series of in-class exams along with a final research assignment analyzing a single object chosen from the Art Institute?s furniture collection.

This course offers an historical survey of music as a sonic art form from the Futurists to the present day. Emphasis is placed on works that tune the performance environment, explore sound as sculpture, interact with the listener/viewer, and employ intermedia. Class discussions include topics such as basic psycho-acoustics, sound manipulation, conceptual art, installation techniques, and constructivist aesthetics.

This course takes a hemispheric approach that unites the Ancient Americas by following the trade routes that moved materials and goods including corn, turquoise, and gold, from the Arctic to Patagonia and connected this vast expanse of land. We start in 12000 BC with the migration of people to different parts of North, South, and Central America and end in 1492 with the arrival of Europeans. Along the way, we consider a diverse range of media, including architecture, basketry, ceramics, textiles, jewelry, painting, sculpture, architecture, and earthworks from across the ancient Americas. Underscoring modes of both continuity and change, we will also survey responses from contemporary artists whose work continues through lines to ancient art made before Conquest.

This is a 0 credit study trip placeholder course. Specific credit courses will be applied to your enrollment for the term based on your Study Trip Preregistration information.

This is a 0 credit study trip placeholder course. Specific credit courses will be applied to your enrollment for the term based on your Study Trip Preregistration information.

This is a 0 credit study trip placeholder course. Specific credit courses will be applied to your enrollment for the term based on your Study Trip Preregistration information.

This is a 0 credit study trip placeholder course. Specific credit courses will be applied to your enrollment for the term based on your Study Trip Preregistration information.

This class introduces students to the concepts and production of distributable artists’ projects. Working closely with faculty, students develop projects to be printed on the Heidelberg offset press and Risograph machines. Multiples such as prints, books, zines, posters, stickers, cards, and packaging are examples of potential projects that utilize these high-volume printing processes. Image creation methods include digital, photo, collage, and hand-drawing. Adobe Creative Suite and a variety of binding and packaging techniques will be demonstrated. Through hands-on examples, readings, and visits to special collections, such as the Joan Flasch Artist Book Collection, a wide range of printed work and distributable projects will be shared and discussed. Over the semester, students can expect to complete a number of multi-color offset and risograph projects and participate in two critiques.

This three week course is tailored for students with a foundational understanding of photography and its materials, coupled with a keen interest in leveraging photo images within a diverse array of image-making techniques. Participants will delve into the direct-to-plate Photogravure process, acquiring skills transferable to other non-silver processes such as enlarged negatives, contact printing, and assorted printing methodologies. Additionally, students will develop a fundamental proficiency in intaglio printmaking. Concepts such as text, installation, and performance may also be investigated in relation to printmaking. Emphasis is placed on individual experimentation across a spectrum of both analogue and digital processes, coupled with independent research pursuits.

This course draws on the analytic tools of gender and sexuality to examine the construction of power, society, and race in colonial contexts. Drawing on feminist and postcolonial theory, we will look at a broad range of case studies to explore themes in colonial history, such as ?discovery? and conquest, power and resistance, the construction of imperial and gender ideologies, the regulation of intimacy and the creation of race-based hierarchies, the disciplining, regulating, and improvement of colonial bodies, and the multiple intersections and conflicting definitions of gendered or racialized categories and identities. Readings include primary and secondary texts as well as art, images, and film. Evaluation will be based on discussion, writing assignments, and an independent presentation.

This course will begin with examples of Expressionist Cinema in the masterpieces of 1920s Germany, through to reiterations in the classic Hollywood Film Noirs of the 1940s and 1950s, followed by the reinventions of Neo-Noir and finally, the influence of these works on films throughout Europe and Asia. The class will focus on the aesthetics of Expressionism, one of the dominant art movements of the 20th century, as it appears in film, with special attention to lighting, composition and editing. Likewise, lectures and discussions will also focus on recurrent themes such as urbanization, human psychology, the impact of modernity and gender relations. Screenings and readings may vary, but typical works to be studied include: Nosferatu, Metropolis, Double Indemnity, Kiss Me Deadly, The Long Goodbye, Elevator to the Gallows and Infernal Affairs. Readings will help elucidate these screenings. Through close observation and discussion, students will develop basic skills for analyzing film. The legacy of Film Noir, tends to reappear whenever there is social chaos. Given our present world situation, these films remain as relevant today as ever. Students can expect to write two essay exams covering the assigned screenings and readings and a final research paper.

A course, for students working at all levels of printmaking or painting, that introduces a variety of monotyping techniques. Some of the media used in the course are oil based, such as oil pigments and oil-based inks; and some are water based, such as opaque and transparent watercolors, water soluble inks, and tempera paints. Registration and overprinting methods are shown, along with stencil and transferring processes. Instruction consists of demonstrations and private and group critiques.

Electronic manuscripts combine images, words and potentially other media including sound and video. They include but are not limited to online narratives with interactive, hypertextual, animated, or generative elements; artists books (either online or with digital elements); innovative online portfolio pages; SoundWorks hosted on a webpage with textural or visual elements; and installations with digital narrative components. We will study issues in creating content for electronic manuscripts and explore the software, algorithms, and interfaces with which they are created, including social media platforms, HTML5/CSS; JavaScript, twine, and Inform7. The works we will study in this course include Matt Huynh's scrolling 'The Boat,' in which a harrowing narrative of Vietnamese 'boat people' refugees unfolds amidst animated falling rain, storm-rocking graphics, voiced laments, light and dark, moving text, and floating images; Carla Gannis' triptych animation:'The Garden of Emoji Delights; Nick Montfort's generative concrete poetry 'Autopia'; Catt Small's 'SweetXheart”, an interactive game that asks 'Can you get through a week in the life of a modern black woman?; and installed works such as Carolee Schneemann’s 'Venus Vectors' and Noah Wardrip-Fruin and Camille Utterback's 'Talking Cure'. Students will traverse examples; create content; learn/practice HTML5/CSS, basic JavaScript, twine, inform7, and social media-based authoring platforms, create work in the media of their choice.

This course explores the sensualness and design of over one hundred years of lingerie making through the use of beautiful fabrics including linen, lace, silk, satin, chiffon and ribbons. Historical references and modern technology are explored through slides, video, books, museums and boutiques for the design of lingerie and under garments. The students drape, make patterns, and fit on a live model. Students are required to make one garment in muslin and their choice of fabric.

How do we see the buildings, forms, and spaces as well as the light and shadow that surround us? This class will foster both traditional and creative approaches to photographing architectural structures and dimensional spaces through a combination of visual formalism, direct representation, and conceptual interpretation, allowing students to bring their own particular aesthetic to the process. Architecture is one of the most challenging subjects to photograph with its distortion issues, ambient and mixed light challenges, and the need for problem solving, often with a minimum of equipment. Students will gain technical knowledge and skills necessary to photograph a wide range of 3-dimensional structures and spaces. Working with large format, medium format and digital SLR cameras, the class will be introduced to observational and analytical methodologies that in combination with technical skills, become part of a toolkit for being able to work with technically and conceptually challenging photographic subjects and situations.

How do we see the buildings, forms, and spaces as well as the light and shadow that surround us? This class will foster both traditional and creative approaches to photographing architectural structures and dimensional spaces through a combination of visual formalism, direct representation, and conceptual interpretation, allowing students to bring their own particular aesthetic to the process. Architecture is one of the most challenging subjects to photograph with its distortion issues, ambient and mixed light challenges, and the need for problem solving, often with a minimum of equipment. Students will gain technical knowledge and skills necessary to photograph a wide range of 3-dimensional structures and spaces. Working with large format, medium format and digital SLR cameras, the class will be introduced to observational and analytical methodologies that in combination with technical skills, become part of a toolkit for being able to work with technically and conceptually challenging photographic subjects and situations.

How do we see the buildings, forms, and spaces as well as the light and shadow that surround us? This class will foster both traditional and creative approaches to photographing architectural structures and dimensional spaces through a combination of visual formalism, direct representation, and conceptual interpretation, allowing students to bring their own particular aesthetic to the process. Architecture is one of the most challenging subjects to photograph with its distortion issues, ambient and mixed light challenges, and the need for problem solving, often with a minimum of equipment. Students will gain technical knowledge and skills necessary to photograph a wide range of 3-dimensional structures and spaces. Working with large format, medium format and digital SLR cameras, the class will be introduced to observational and analytical methodologies that in combination with technical skills, become part of a toolkit for being able to work with technically and conceptually challenging photographic subjects and situations.

How do we see the buildings, forms, and spaces as well as the light and shadow that surround us? This class will foster both traditional and creative approaches to photographing architectural structures and dimensional spaces through a combination of visual formalism, direct representation, and conceptual interpretation, allowing students to bring their own particular aesthetic to the process. Architecture is one of the most challenging subjects to photograph with its distortion issues, ambient and mixed light challenges, and the need for problem solving, often with a minimum of equipment. Students will gain technical knowledge and skills necessary to photograph a wide range of 3-dimensional structures and spaces. Working with large format, medium format and digital SLR cameras, the class will be introduced to observational and analytical methodologies that in combination with technical skills, become part of a toolkit for being able to work with technically and conceptually challenging photographic subjects and situations.

This course provides an introduction to the UI / UX principles, issues, methods of user-centered responsive web design (mobile, tablet, and laptop). Students hand-code HTML / CSS; and various software to generate Javascript and post fully functioning responsive websites. This course is for students from all departments who may have no previous coding or web design experience. All necessary coding and software skills will be taught in class. Readings focus on Non-Linear User Interaction, and the Relationship between Print and Digital Experiences, with others as necessary. Students should anticipate exercises focusing on the following: usability principles, content organization, strategy, user diagramming, audience analysis. Students will be asked to review and identify both strengths and weaknesses of these concepts across retail, experimental, promotional, and educational websites. There will be one technical study (1 week intensive in hand-coding and XD), and one user-centered project (2 weeks - hand-coding or Figma). There are no prerequisites for this course.

This course provides an introduction to the UI / UX principles, issues, methods of user-centered responsive web design (mobile, tablet, and laptop). Students hand-code HTML / CSS; and various software to generate Javascript and post fully functioning responsive websites. This course is for students from all departments who may have no previous coding or web design experience. All necessary coding and software skills will be taught in class. Readings focus on Non-Linear User Interaction, and the Relationship between Print and Digital Experiences, with others as necessary. Students should anticipate exercises focusing on the following: usability principles, content organization, strategy, user diagramming, audience analysis. Students will be asked to review and identify both strengths and weaknesses of these concepts across retail, experimental, promotional, and educational websites. There will be one technical study (1 week intensive in hand-coding and XD), and one user-centered project (2 weeks - hand-coding or Figma). There are no prerequisites for this course.

This course explores the intersections between psychoanalysis, anthropology, art and childhood, emphasizing common ideas, concepts, techniques and methods across disciplines. The course consists of both theoretical and practical elements. Historical and contemporary ideas on art and human development are explored from multiple theoretical perspectives and interpretations of childhood. In the realm of the practical, students develop and implement collaborative art and ethnography projects guided by shared inquiries, and in opposition to dominant, totalizing narratives.

Clay is inherently connected to the human narrative. Throughout time clay has been fired to ceramic art to tell our stories. This course will focus on clay handbuilding, ceramic surface imagery, and poetic narrative. Students will learn handbuilding and surface imagery techniques including: coil building, slab building, inlay, sgraffito, underglaze, and glazing. In this 3 week summer class students will create sculptures that utilize personal or personally significant narratives. Students will study the work of contemporary artists using narrative such as Roberto Lugo, Arlene Shechet, Kathleen Wall and Kensuke Yamada. Through demonstrations, readings, slides, and critique, students will analyze and borrow from the long history of narrative in clay.

This is a team-taught, three-week intensive Summer studio class for students who want to investigate painting issues and explore formal and conceptual interests in detail. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. The faculty and visiting-artist-in-residence meet with the students individually and conduct rigorous group critiques. Activities include: visiting artists' studios, galleries and museum collections. Individual studios are provided to each student enrolled this course.

This is a team-taught, three-week intensive Summer studio class for students who want to investigate painting issues and explore formal and conceptual interests in detail. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. The faculty and visiting-artist-in-residence meet with the students individually and conduct rigorous group critiques. Activities include: visiting artists' studios, galleries and museum collections. Individual studios are provided to each student enrolled this course.

HTML defines the structure of a web page, while CSS lends style by controlling the presentation of elements. This online course caters to students with little or no prior coding experience. Through hands-on coding modules, students will use a text editing program to acquire proficiency in standards-compliant HTML and CSS. A strong emphasis on redundancy will ensure that coding concepts are fully understood and best practices reinforced. Students will undertake research, design, and coding tasks to create a fully functional, responsive website. With a solid understanding of HTML and CSS, students will explore opportunities to develop dynamic web pages that adapt seamlessly to different devices and screen sizes. Additionally, students will investigate interface possibilities, evaluate site navigation opportunities, and analyze the effectiveness of various page structures in communicating information effectively and efficiently. There are no prerequisites for this course.