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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.

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.

An attempt, a venture, an experiment, a weighing - the essayist discovers new insight into the common, the peculiar, the sacred, the profane - drawing lines between the trivial and profound, the essayist tries: while difficult to define, this genre instructs, entertains, questions and refines. Students of this course will examine this genre of literature and will practice it, too: being introduced to a wide range of authors, writing on topics familiar and foreign, from the personal to the argumentative, from the art historical to the humorous, students will practice this craft by critically analyzing the work of others and writing different types of essays in a workshop environment that emphasizes the writing process, from generating ideas, to oral presentations, to drafting and peer review, to re-seeing and revising. FYS I develops college-level writing skills, prepares one for FYS II and upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing.

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.

All FYS 2 students will learn to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in upper-level course work. Students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. This FYS 2 course will explore the interconnected meanings of race, horror, and monstrosity. In particular, we will focus on the presentations and representations of racial difference in the Americas. From Birth of a Nation (1915) to Get Out (2017), and from the transatlantic slave trade to contemporary #BlackLivesMatter movements, African-American struggles for dignity and inclusion have produced ¿philosophies born of struggle,¿ i.e. avenues of critical thought and activism with an eye toward social liberation and freedom from daily fear.

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.

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.

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.

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.

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.

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.

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.)

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 is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.

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.

In this studio course, students will explore relief printmaking techniques using woodblocks, linoleum, found-objects, foam, monoprints and digital processes. Students will learn how to properly carve, ink, and print blocks in order to create editions as well as experiment with non-traditional formats. Students will be exposed to the rich history of relief printmaking through traditional and contemporary examples, specifically works from AIC and SAIC collections. Returning students will expand upon previous projects and develop new approaches to exploring content and understanding relief techniques.

Students will be exposed to a wide variety of artists from the long and rich history of relief printmaking. We will examine artists who work traditionally within the medium, as well as artists who depend upon contemporary technology to create prints. Some of the artists we will explore in this course include Durer, Hokusai, Masereel, Mendez, Zarina and Baumgartner.

Over the course of the semester, students will create 10-20 prints that show an understanding of the various relief techniques demonstrated by the instructor. Students will also participate in a print exchange folio at the end of the course. Projects will be critiqued throughout the semester.

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.

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 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.

In this class students will create photographic work inside and outside in the natural elements. This three-week course, Inside / Out, delves into both digital and analog using solar-printing techniques, with a unique focus on printing not only on paper but also on textiles and organic materials. Students will work with a variety of printing processes such as solar fast dye, cyanotypes to transform photographic imaging utilizing digital and analog methods. Students are encouraged to create sculptural contraptions to best capture the sun¿s rays to their preferred substrate of choice.

Students will investigate how artistic internal forces can influence the external changing sociopolitical landscape and vice versa. Class visits will include excursions to Chicago¿s parks and gardens. We will research historical scientific photography and local botany. Through digital printing, students will learn to work with inkjet printers to create negatives, while sun-printing techniques will allow them to create eco-friendly designs on cotton and other textiles. By the end of the course, students will develop a diverse portfolio that includes both traditional photographic prints and textile artwork, blending the technical precision of indoor printing with the organic, unpredictable results of outdoor sun printing to stitch together new photographic forms.

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 is designed to offer students a didactic and experiential overview of the field of art therapy. Material covered will include history, theory, and practice of art therapy processes and approaches as well as a survey of populations, settings, and applications. Lecture, readings, discussion, audio-visual presentations, experiential exercises, and guest presentations comprise the structure of this course.

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.

This course enables students who hand knit to pursue the challenge of creating garments and/or objects with knitting machines. Through demonstration and discussion of traditional basic methods and structured exercises will give the students a foundation in various stitch patterns and techniques. Shape and fit along with texture manipulation are explored. Historical reference as well as current contemporary design concepts will be researched enabling students to focus on individual design to produce a garment or an object. Students will design, sample and explore possibilities in a traditional and non-traditional manner using various materials.

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.

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.

This interdisciplinary course considers the topic of craft practices and the therapeutic through the lens of feminist pedagogy, including theories of touch and interembodiment. Students will examine the critical role craft and the domestic arts have played in raising questions surrounding feminism, gender, and labor practices in everyday histories. The course examines local and international projects centering on memory, trauma and collaboration. The class will explore the ethics of community collaborations and how the practice of making can cultivate a sense of community, well-being, and social capital.

This kinetics course will explore the activation of art projects with materials that flow, inflate, pump, pour and move in unique ways. Demonstrations will introduce: basic electronics, pneumatics, air-muscles, inflatables, pumps, motors, actuators and the necessary means to power these devices. This course will explore materials and their unique properties when activated by these processes. Students will learn various techniques to animate and control art projects, including the use of the Arduino micro-controller and sensors.
Throughout the course, screenings and readings will introduce students to artists who work with kinetics, robotics and related fields. Artists shown and discussed in class include: Theo Jansen, Rapheal Lozano-Hemmer, Chico Mac Murtrie, Rebecca Horn. Students will be introduced to organizations, galleries and networks that support this type of art work including ARS Electronica, Rhizome and Bitforms gallery.
A series of workshops and smaller assignments will expose students to the potentials of these devices and processes in art making. Next, students will develop projects that utilize one or more of the systems covered in class. Students will be guided in project proposal development where ideas will be explored in group discussions. Mechanical and electronic fabrication techniques will be further explored through project development. Completed projects will be evaluated in group critiques.

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.

In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students.
The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.

In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students.
The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.

In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students.
The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.

In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students.
The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.

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.

This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.

Materials Lab: Raw & Cooked Materials will explore five techniques of material reuse and invention: densify, reconfigure, transform, design and cultivate. Dispensing with the notion of nature as raw material, standing supply, this course begins with surplus, waste and by-products as an earlier beginning point of meaning and making. This class will look at vernacular architecture, secondary use design and current industrial models of material manufacture to understand both the physical properties of materials and their interconnected social, political and ethical meaning.

This multi-level course will explore the intersection of art and nature while foraging local plant and earth matter to create pigments for inks and paints. We will delve into the diverse world of pigments, employing various binders to craft water-based mediums such as inks, watercolor, gouache, and acrylic. Students will be introduced to both traditional and experimental techniques and extend beyond the studio, incorporating outdoor, in situ sessions where we actively forage materials.
We will learn about contemporary artists like Ricky Lee Gordan, Sam Falls, Cathy Hsaio, Elisabeth Heying, and more, who source their own pigments, examining how these artists thoughtfully incorporate them into their work. Simultaneously, we will look at the historical roots of pigments, tracing their origins and uncovering their myriad applications across cultures and time periods.
By the end of the course, students will not only possess the skills to create work using self-sourced pigments but will also gain a nuanced understanding of the historical and contemporary significance of pigments in the broader artistic context. This course will provide a unique opportunity to bridge art and sustainability while making a deeper connection to the natural world.

There are fantastic books by Asian American writers but often they are not taught in school, or part of pop culture, or included in the literary canon. Who decides which writers and books are worthy of reading? In this discussion based course, we will critically read, think, and write about texts by contemporary Asian American authors. We will analyze multiple factors that have influenced the creation of the texts and that are explored within them, such as race, diaspora, memory, family, politics, community, and identifying oneself and one¿s artwork. The readings will be across genre: novels, poetry, non-fiction, and graphic novels. Readings often include works by Victoria Chang, Mira Jacob, Alexander Chee, Jenny Xie, Ocean Vuong, Ted Chiang, and Cathy Park Hong among others. We will freewrite, formulate conceptual questions for the readings, write responses, and compose 2 essays based on individual inquiry and analysis.

This course explores the aesthetic potential of cast iron as a sculptural material. Students learn to construct and operate a cupola and related equipment for melting and pouring iron. The class culminates in a two-day field trip in which the participants fire the cupola and continuously pour cast iron into prepared molds. Discussions include the historical and contemporary applications of the material.

This course is offered for those students interested in developing skills in the creation and application of digital audio. Using Apple's Logic software, students interested in exploring sound or music are introduced to audio manipulation techniques that allow them to create soundtracks, to record and produce songs or dance tracks, realize abstract sound pieces or manipulate sound for installations. Techniques of sound manipulation are introduced, including audio recording and editing, looping, and sound destruction. MIDI, drum programming, the use of software synthesis and basic music and composition techniques are addressed according to the needs of individual students. The class is structured to encourage the interaction of students with a wide range of technical ability in audio from beginners to advanced artists in the early stages of a professional practice.