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Fashion Design I builds the skills and talents required to achieve creative fashion. This class teaches the design fundamentals of the integrated core fashion design curriculum. Students will engage multiple skills to create individual, visionary, unconventional garments, and later, collections. Through a series of projects, students explore form, silhouette, volume, and research in design to arrive at a personal point-of-view in fashion. This course will specifically ask students to work conceptually and to develop research methodologies in their design work. Based on this inquiry, students generate sketches and surface treatments to refine their unique silhouettes and material manipulations. No prerequisite.

Form and Meaning is a rigorous investigation of the art of moving image editing and provides a historical and theoretical understanding of both classical film editing and newer modes and models of editing and perception. The course provides a working foundation and framework.

A close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing cinematic works. In addition, we will look at examples and discuss how editing functions for the installation artist, and further, how the Internet, New Media, television and video art have made an impact on concepts surrounding editing. Weekly readings will expand on the work presented in class.

Students should expect to research and write both a midterm and final papers as well as a few short responses to works presented in class. Form and Meaning is a theory-based seminar and is not designed to offer critique for works in progress.

In this intensive winter seminar, students will dive into the art of puppetry and object-based storytelling, mastering hands-on skills in puppet creation, animation, and performance. This immersive experience offers a rare opportunity to collaborate with renowned national and international artists both on-campus and at some of Chicago¿s iconic art venues. Over three weeks, students will attend live performances, participate in skill-building workshops, and engage in community and academic discussions on the evolving field of international puppetry. With a rich itinerary that includes artist talks, seminars, and workshops in partnership with Chicago¿s International Puppetry Festival, students will gain a comprehensive perspective on the art form.

The course begins by exploring historical and contemporary object manipulation techniques in performance, where students will learn foundational exercises focused on bunraku, or group coordinated manipulation of an object and develop their own unique stories. Next, students will delve into toy theatre, creating miniature worlds and stories using small-scale objects. Finally, guided by visiting international artists, students will build large-scale spectacle puppets, culminating in a site-specific performance that showcases the transformational power of puppetry in storytelling.

Students are introduced to the fundamental principles and practices of woodworking through lectures, demonstrations, and projects.

Various investigations are conducted regarding traditional and alternative shoe design and assembly. Assigned readings and discussions focus on history, materials, the designers, lifestyle, terminology and processes, and the involvement of feet and shoes in art. Emphasis is placed on interpreting the foot and shoe for visual presentations and experimenting with components for artistic and practical expression. Final critiques include presentations of one of half pairs of shoes and sandals, illustrations, weekly clipping files and a thematic selection of thematic original ideas. Group critiques are scheduled several times during the semester. Weekly slide lectures, field trips, guest lectures or demonstration enable students to develop their ideas in the studio with a focus on fit and originality.

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.

Through this course, students will learn techniques traditionally used in working with fur to reimagine materials from faux fur and upcycled materials, to felt, leather, suede and woven fabrics. Focused in the introduction and use of specialized industrial sewing machines specifically designed to stitch fur like materials, students will learn designing, pattern cutting, and construction for garments and accessories, and will explore the history and future of fur and fur like fabrics both as a material and an embellishment. Students will design and create one full garment.

This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.

Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis.

Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.

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 furniture studio will critically engage the chair as an archetype. Chairs have long been a fascination of designers as they require a developed understanding of structure, material, and form. Importantly, chairs represent the cultural mores of the time in which they are produced and are inextricably linked to larger systems of power, technology, and economy. This course will explore the chair as a fluid, dynamic furniture category that is in a reciprocal relationship with culture, technology, and politics and will emphasize a hands-on approach to design and production.

This furniture studio will critically engage the chair as an archetype. Chairs have long been a fascination of designers as they require a developed understanding of structure, material, and form. Importantly, chairs represent the cultural mores of the time in which they are produced and are inextricably linked to larger systems of power, technology, and economy. This course will explore the chair as a fluid, dynamic furniture category that is in a reciprocal relationship with culture, technology, and politics and will emphasize a hands-on approach to design and production.

Join our trip to Peru to discover a unique experience while gaining insight into South America's large tradition of textile crafts as well as other artistic practices. In addition to our in-depth study of textiles, we will also concentrate on art as a catalyst for intercultural exchange, focusing on the rich vibrant indigenous Quechuan communities of the Peruvian Highlands. During the course students will have a series of practicums focusing on backstrap weaving, service projects, ritualistic ceremonies, and interactions with local indigenous communities, as we will embrace cultural tourism as a means of inter-cultural exchange through our social interactions. Another focus is the pre-Hispanic archaeological sites located in the Sacred Valley, with a visit to Machu Picchu as a highlight.

Join our trip to Peru to discover a unique experience while gaining insight into South America's large tradition of textile crafts as well as other artistic practices. In addition to our in-depth study of textiles, we will also concentrate on art as a catalyst for intercultural exchange, focusing on the rich vibrant indigenous Quechuan communities of the Peruvian Highlands. During the course students will have a series of practicums focusing on backstrap weaving, service projects, ritualistic ceremonies, and interactions with local indigenous communities, as we will embrace cultural tourism as a means of inter-cultural exchange through our social interactions. Another focus is the pre-Hispanic archaeological sites located in the Sacred Valley, with a visit to Machu Picchu as a highlight.

Contemporary Art in India has evolved rapidly over the past 30 years but artists have never lost sight of the nation¿s complex and layered regional history. While the urban centers of Delhi and Mumbai house international galleries, museums and art fairs, there are local communities that have created alternative hubs for art making. This class will explore the contemporary art worlds of India, starting in Mumbai, the site of India¿s first modernist movement, the Bombay Progressives, and visit world class galleries and museums in the former colonial district of Colaba. We will then tour the 8th-12th century cave temples of Elephanta, and even older caves of Ellora and Ajanta, which inspired post-independence artists to look back at their local sculptural traditions. We will then visit the former Portuguese colony of Goa where the critically acclaimed performance artist Nikhil Chopra (b. 1974) runs an art space, residency and performance collective, HH Arts Foundation. The trip will culminate in Varanasi, the spiritual heart of India, where students will be given the opportunity to occupy a studio space at the Kriti art residency and spend several days making art with local materials. At each site, students will participate in hands-on workshops, walking tours, studio visits, scholarly lectures and meet people engaged in making contemporary art outside of white cube spaces. Special emphasis will be given on artists who work on issues of individual and collective identities, and work on art and ecology, sustainability, and historically marginalized voices and narratives. The idea of a portable studio will be the way that each participant engages the trip on a daily basis in journaling, documentation, research, drawing, or collage. Mapping the experience of our travel and articulating a point of view through personal recording in a chosen medium will come together in a gallery exhibition/presentation in Varanasi where students will be artist-in-residence in an internationally known residency and art center.

Contemporary Art in India has evolved rapidly over the past 30 years but artists have never lost sight of the nation¿s complex and layered regional history. While the urban centers of Delhi and Mumbai house international galleries, museums and art fairs, there are local communities that have created alternative hubs for art making. This class will explore the contemporary art worlds of India, starting in Mumbai, the site of India¿s first modernist movement, the Bombay Progressives, and visit world class galleries and museums in the former colonial district of Colaba. We will then tour the 8th-12th century cave temples of Elephanta, and even older caves of Ellora and Ajanta, which inspired post-independence artists to look back at their local sculptural traditions. We will then visit the former Portuguese colony of Goa where the critically acclaimed performance artist Nikhil Chopra (b. 1974) runs an art space, residency and performance collective, HH Arts Foundation. The trip will culminate in Varanasi, the spiritual heart of India, where students will be given the opportunity to occupy a studio space at the Kriti art residency and spend several days making art with local materials. At each site, students will participate in hands-on workshops, walking tours, studio visits, scholarly lectures and meet people engaged in making contemporary art outside of white cube spaces. Special emphasis will be given on artists who work on issues of individual and collective identities, and work on art and ecology, sustainability, and historically marginalized voices and narratives. The idea of a portable studio will be the way that each participant engages the trip on a daily basis in journaling, documentation, research, drawing, or collage. Mapping the experience of our travel and articulating a point of view through personal recording in a chosen medium will come together in a gallery exhibition/presentation in Varanasi where students will be artist-in-residence in an internationally known residency and art center.

Despite rumors to the contrary, New York City remains the center of the contemporary art world, the place where a staggering quantity of art is produced, exhibited, purchased, interpreted, and evaluated. One way to make sense of the city¿s complexity and energy is to trace the dynamic pathways through which art travels: the connections between artists, dealers, institutions, and critical voices. During two intensely busy weeks in January, this study trip will investigate the full range of contemporary art production in the city, visiting artists' studios, non-profit spaces and publications, residencies, commercial galleries, and major museums. Team-taught by artist / theorist Aliza Shvarts and critic / art historian Daniel Quiles, both of whom have lived and worked in New York, the class will benefit from numerous ¿behind-the-scenes¿ opportunities with artists, critics, curators, and dealers.

Despite rumors to the contrary, New York City remains the center of the contemporary art world, the place where a staggering quantity of art is produced, exhibited, purchased, interpreted, and evaluated. One way to make sense of the city¿s complexity and energy is to trace the dynamic pathways through which art travels: the connections between artists, dealers, institutions, and critical voices. During two intensely busy weeks in January, this study trip will investigate the full range of contemporary art production in the city, visiting artists' studios, non-profit spaces and publications, residencies, commercial galleries, and major museums. Team-taught by artist / theorist Aliza Shvarts and critic / art historian Daniel Quiles, both of whom have lived and worked in New York, the class will benefit from numerous ¿behind-the-scenes¿ opportunities with artists, critics, curators, and dealers.

This course investigates strategies to develop and maintain a painting practice within the context of a home or off-campus studio. Painting materials, application, color, form, and contemporary and traditional methodologies will all be examined. Focus will be given to the development of safe home studio practices. Designed to accommodate many skill levels, students will explore various creative strategies through a skill-based curriculum as well as individual projects

Lectures and assignments will focus on developing a home studio practice, as well as contemporary painting in general. Students will review a wide variety of current and past painters, with emphasis placed on diversity and recontextualization of the traditional canon. PTDW/StudioLab-developed content for a safe home studio practice, including readings and video tutorials, will be shared and explored. Other critical readings may be assigned at the discretion of the faculty. The course leaves room for differing approaches by section and faculty, much like a Multi-level Painting course, but with an added focus on home studio practice.

Course work will vary by section, but will typically include a mixture of short, focused studio assignments, in combination with longer, individually driven projects. Critiques and one-on-one discussion will occur throughout the semester, culminating in a final critique, based on work created throughout the semester, or on a culminating independent project. Readings and tutorials on home studio practice will be assigned throughout the semester as needed.

This course is an introduction to the User Interface (UI) / User Experience (UX) principles, issues, and methods of user-centered responsive web design (mobile, tablet, and laptop).
Students design a website of their choice, in two ways. The first way is making the website with Figma (2 weeks), and the second way translates the Figma website into a simplified HTML/ CSS website made with Dreamweaver (1 week).
Principles, issues and methods explored include: problem-solving processes, content organization / wireframes, navigation strategies, usability principles, interface look and feel, interface design elements, user requirements /specifications, audience analysis, and professional best practices.
This course is for students from all departments who may have no previous web design experience, as well as those with some experience who want to explore web design in new ways. There are no prerequisites for this course, and all necessary software skills will be taught in class.

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.