Continuing Education Bulletin

Transcription

Published by the Visual Arts Press, Ltd., © 2016
The School of Visual Arts does not discriminate on the basis of gender, race,
color, creed, disability, age, sexual orientation, marital status, national origin
School of Visual Arts Bulletin (USPS-004171)
or other legally protected statuses.
is published quarterly: fall, winter, spring, summer by
School of Visual Arts
The College reserves the right to make changes from time to time affecting
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Volume XCIII number 3, August 1, 2016
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SCHOOL OF VISUAL ARTS BULLETIN
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CREDITS
The School of Visual Arts has been authorized by the New York State Board
of Regents (www.highered.nysed.gov) to confer the degree of Bachelor of
CREATIVE DIRECTOR: Anthony P. Rhodes
Fine Arts on graduates of programs in Advertising; Animation; Cartooning;
DIRECTOR OF DESIGN AND DIGITAL MEDIA: Gail Anderson
Computer Art, Computer Animation and Visual Effects; Design; Film; Fine
ASSOCIATE EDITORS: Daniel Johnson, Sheilah Ledwidge
Arts; Illustration; Interior Design; Photography and Video; Visual and
COVER ARTWORK: Louise Fili
Critical Studies; and to confer the degree of Master of Arts on graduates
PHOTOGRAPHY: Elinor Carucci, David Corio, Bennett Elliott,
of the programs in Critical Theory and the Arts; Curatorial Practice; Design
Michelle Mercurio, Keren Moscovitch, Alison Noel, Joseph P. Sinnott
Research, Writing and Criticism; and to confer the degree of Master of Arts
in Teaching on graduates of the program in Art Education; and to confer
the degree of Master of Fine Arts on graduates of programs in Art Practice;
Art Writing; Computer Art; Design; Design for Social Innovation; Fine Arts;
Illustration as Visual Essay; Interaction Design; Photography, Video and
Related Media; Products of Design; Social Documentary Film; Visual
Narrative; and to confer the degree of Master of Professional Studies on
graduates of the programs in Art Therapy; Branding; Digital Photography;
Directing; Fashion Photography. Data required by the U.S. Department of
Education on “Gainful Employment” for each of the above programs may
be found on each individual program page at sva.edu/ge.
The School of Visual Arts is accredited by the Commission on Higher Education
of the Middle States Association of Colleges and Schools (msche.org),
3624 Market Street, Philadelphia, PA 19104, 215.662.5606. The Commission
on Higher Education is an institutional accrediting agency recognized by the
U.S. Secretary of Education and the Council on Higher Education Accreditation.
The School of Visual Arts is an accredited institutional member of the
National Association of Schools of Art and Design (nasad.arts-accredit.org).
The Interior Design program leading to the Bachelor of Fine Arts in Interior
Design is accredited by the Council for Interior Design Accreditation
(accredit-id.org), 146 Monroe Center NW, Suite 1318, Grand Rapids,
MI 49503-2822.
The Master of Arts in Teaching in Art Education program is accredited by
the Council for the Accreditation of Educator Preparation (CAEP).
The Master of Professional Studies in Art Therapy degree program is
approved by the American Art Therapy Association, Inc., and as such
meets the Education Standards of the art therapy profession.
contents
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Registration Information
Calendar
Introduction
Information Sessions
SPECIAL PROGRAMS FALL 2016
8
Filmmakers Dialogue
10 Art for Kids (K-9)
11 Pre-College Programs
ONLINE COURSES
13 Course Listing
PROFESSIONAL DEVELOPMENT
19 Course Listing
STUDIO ARTS AND VISUAL AND CRITICAL STUDIES
2 3 Advertising
2 9 Animation
3 9 Computer Art, Computer Animation and Visual Effects
57 Design
67 Film and Video
8 3 Fine Arts
111 Illustration and Cartooning
12 3 Visual Narrative
127 Interior Design
12 9 Photography
14 3 Visual and Critical Studies
COURSES FOR UNDERGRADUATE CREDIT
1 51 Course Listing
ADDITIONAL INFORMATION
16 2 General Information
16 9 Continuing Education Degree Programs
17 0 Administration
17 7 Faculty Index
18 2 Map of Buildings
18 3 Directory
COURSES BY AREA OF FOCUS
(Listed with catalog section and beginning page number)
Acting: Film and Video, page 78
Advertising: page 23
Animation: page 29
Art for Kids (K-9): Special Programs, page 10
Blacksmithing: Fine Arts Sculpture, page 96
Cartooning: page 111
Ceramics: Fine Arts Sculpture, page 94
Children’s Book Illustration: Illustration and Cartooning, page 116
Cinema Studies: Film and Video, page 81
Computer Animation: Computer Art, page 53
Computer Art: page 39
Design: page 57
Desktop Publishing: Computer Art, page 42
Digital Photography: Photography, page 131
Drawing: Fine Arts, page 83; Illustration and Cartooning, page 111
Film and Video: page 67
Illustration: page 111
Interior Design: page 127
Jewelry Design: Fine Arts, page 108
Metal Sculpture: Fine Arts Sculpture, page 95
Motion Graphics and Visual Effects: Computer Art, page 52
Online Courses: page 13
Painting: Fine Arts, page 87
Photography: page 129
Pre-College Program: Special Programs, page 11
Printmaking: Fine Arts, page102
Residency Programs and Intensives: page 160
Screenwriting: Film and Video, page 76
Sculpture: Fine Arts, page 94
SVA Destinations, Summer 2017: page 158
Video: Film and Video, page 67
Visual and Critical Studies: page 143
Visual Narrative: page 123
Voice-Over: Film and Video, page 78
Web Design and Development: Computer Art, page 46
Woodworking: Fine Arts Sculpture, page 97
registration information
REGISTRATION BEGINS NOW
The Division of Continuing Education fall 2016 program offers a
variety of course schedules to accommodate students. We have
courses and workshops that begin throughout the semester. Please
refer to individual course listings for dates and times.
REGISTRATION LOCATION AND
GENERAL REQUIREMENTS
The Registrar’s Office is located at:
205 East 23rd Street
Telephone: 212.592.2200
Fax: 212.592.2069
Email: [email protected]
The general requirements for registration are as follows:
n Students must have a high school diploma or equivalency diploma.
n Students under 18 years of age must have the signature of a parent
or guardian on their registration form.
The Division of Continuing Education has advisors who will help you
choose courses that are appropriate for your needs.
Toll-free telephone: 877.242.7200
Telephone: 212.592.2251
Fax: 212.592.2060
ONLINE REGISTRATION, CURRENT STUDENTS
To register online, go to MySVA at: my.sva.edu. View the online
bulletin for current listings of courses and their availability.
ONLINE REGISTRATION, NEW STUDENTS
To register online, go to sva.edu and click Continuing Education.
Select courses one at a time and click on “register for this course.”
View the online bulletin at sva.edu/ce for current listings of courses
and their availability.
TELEPHONE REGISTRATION
n Monday–Thursday, 9:00 am to 7:00 pm
n Friday, 9:00 am to 5:00 pm
The telephone number for the Registrar’s Office is 212.592.2200.
Please have course number(s), credit card number and expiration
date ready.
IN-PERSON REGISTRATION
n Monday–Thursday, 9:00 am to 7:00 pm
n Friday, 9:00 am to 5:00 pm
Please visit the Registrar’s Office. Payment may be made by check,
money order, American Express, Discover, JCB, MasterCard, Visa or
bank debit card. Checks should be made payable to: School of Visual
Arts. Unfortunately, we cannot accept cash payments.
Payment may be made by check, money order, American Express,
Discover, JCB, MasterCard, Visa or bank debit card. Checks should
be made payable to: School of Visual Arts. Unfortunately, we cannot
accept cash payments.
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LATE REGISTRATION
Once a course has begun, you may register with the Registrar’s
Office in the following ways: telephone or in person. Courses already
in session can be added according to the following schedule:
n For courses of 10 or more sessions, you must enroll prior to the
third class session.
n For courses of 5 to 9 sessions, you must enroll prior to the second
class session.
n For intensive and weeklong courses, you must enroll prior to the
first class session.
CONTINUING EDUCATION COURSE CALENDAR
THE SEMESTER BEGINS:
Monday, September 19, 2016
Please refer to each course for detailed information.
Holiday Schedule Continuing Education Courses
There will be no continuing education classes on:
Monday, Oct. 10, Columbus Day
Tuesday, Oct. 11, Yom Kippur
Wednesday–Sunday, Nov. 23–27 Thanksgiving holiday
REGISTRATION INFORMATION
REGISTRATION CANCELLATION
To withdraw from a course you must notify the Registrar’s Office,
in writing, of your intention to withdraw. You may do so by emailing
your withdrawal to [email protected]; by sending written notification
via fax or mail; or by completing a withdrawal form, in person, at the
Registrar’s Office. Failure to complete a course does not constitute
official withdrawal, nor does notification to the instructor, nor does
lack of attendance, nor does dissatisfaction with a course.
toll-free tel. 877.242.7200 :: 5
introduction
Culturally and technologically, life is changing at a dizzying pace;
the need to stay current has created an unprecedented demand for
continuing education. Whether you are seeking to hone a career or
sharpen your mind, we have a program to fit your interests as well
as your schedule.
Our broad curriculum encompasses communications, design,
entertainment and fine arts. A great advantage of continuing your
education at the School of Visual Arts is that here you get to study and
practice with a faculty of distinguished professionals and established
artists who help make SVA one of the most respected colleges of the arts.
You will have the attention of New York’s creative elite, and access
to the same computer labs, studios, editing facilities and equipment used
by successful talents worldwide. We offer courses during the week
and on weekends, from one-day workshops to full-semester courses.
Visit our information sessions and see for yourself why this is
the choice for both the dedicated professional and the curious mind.
SVA also offers credit courses through the Division of Continuing
Education. These courses are listed in the Courses for Credit
section of this bulletin.
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continuing education information sessions
Our continuing education information sessions provide the chance to spend an evening with some of
our distinguished faculty. Discussions on career opportunities and industry news, as well as individual course offerings,
from beginner to advanced, will be included. Evenings will conclude with a question-and-answer session with faculty and
staff. Advisors will be available to help you choose which course is right for you.
SEATING IS GIVEN ON A FIRST-COME, FIRST-SERVED BASIS.
ADVERTISING
Wednesday, August 24
6:30 pm–8:30 pm
209 East 23rd Street, room 502, 5th floor
MODERATOR: John Rea, group digital creative director,
Havas Worldwide
COMPUTER ART, COMPUTER ANIMATION
AND VISUAL EFFECTS
Thursday, September 8
6:30 pm–8:30 pm
133/141 West 21st Street, room 301C, 3rd floor
MODERATOR: Jimmy Calhoun, director of operations, BFA Computer
Art, Computer Animation and Visual Effects Department
DESIGN
Tuesday, August 23
6:30 pm–8:30 pm
209 East 23rd Street, room 311, 3rd floor
MODERATOR: Skip Sorvino, principal, Sorvino Design Group;
design consultant
FILM, VIDEO AND ANIMATION
Tuesday, August 23
6:30 pm–8:30 pm
209 East 23rd Street, room 502, 5th floor
MODERATOR: Valerie Smaldone, principal, Valerie Smaldone
Media Worldwide; voice-over artist and live announcer; host,
Valerie’s New York; actress; producer; writer; celebrity interviewer,
92Y; talent coach
FINE ARTS: DRAWING, PAINTING,
SCULPTURE AND PRINTMAKING
Monday, August 22
6:30 pm–8:30 pm
133/141 West 21st Street, room 602C, 6th floor
MODERATOR: Steve DeFrank, sculptor
ILLUSTRATION AND CARTOONING
6:30 pm–8:30 pm
209 East 23rd Street, room 311, 3rd floor
MODERATOR: Jason Little, cartoonist
INTERIOR DESIGN
Monday, August 22
6:30 pm–8:30 pm
133/141 West 21st Street, room 1104C, 11th floor
MODERATOR: Lucas Thorpe, director of operations, BFA Interior
Design Department
PHOTOGRAPHY
6:30 pm–8:30 pm
214 East 21st Street, room 407A, 4th floor
MODERATOR: Keren Moscovitch, visual artist, curator, writer
VISUAL AND CRITICAL STUDIES
Tuesday, August 30
6:30 pm–8:30 pm
133/141 West 21st Street, room 402C, 4th floor
MODERATOR: Paloma Crousillat, director of operations, BFA Visual
and Critical Studies Department
VISUAL NARRATIVE
Thursday, September 8
6:30 pm–8:30 pm
136 West 21st Street, 11th floor
MODERATOR: Panayiotis Terzis, Risograph technician, RisoLAB,
School of Visual Arts; owner, Mega Press
toll-free tel. 877.242.7200 :: 7
INFORMATION SESSIONS
THESE INFORMATION SESSIONS ARE OFFERED TO THE GENERAL PUBLIC FREE OF CHARGE.
THE SCHOOL OF VISUAL ARTS PRESENTS
Ralph Appelbaum’s
Filmmakers Dialogue
Ten evenings plus bonus screenings
Seating is limited and early registration is suggested.
Discount parking is available.
CFC-2004-A
Tues., Oct. 4–Dec. 13 (dates and time subject to change)
No class, Oct. 11
Sessions begin at 6:15 pm; $425
Most avid filmgoers are critics—but there’s nobody to sound off to.
Imagine being in a theater after previewing a major new film, the
lights go up, and in front of you are the creators of the film.
Welcome to Ralph Appelbaum’s Filmmakers Dialogue, New York’s
premier film preview series. Now celebrating its 36th year.
Without waiting in line (except maybe for popcorn) you can preview
important new studio and independent releases and meet the films’
actors, directors, writers and producers.
FILMMAKERS DIALOGUE participants have met and spoken with
more than 800 movie greats, including Joan Allen, Jean-Jacques
Annaud, Maria Bello, Jeff Bridges, James L. Brooks, Jerry Bruckheimer,
Michael Caine, Matt Damon, Daniel Day-Lewis, Danny DeVito,
Robert Duvall, Morgan Freeman, Paul Giamatti, Gene Hackman, Ron
Howard, Anjelica Huston, Samuel L. Jackson, Rebecca Miller, Edward
Norton, Gwyneth Paltrow, Michelle Pfeiffer, Keanu Reeves, Charles
Shyer, Robert Wise and Richard Zanuck.
Recent guests have included Danny Boyle (Trance), P.J. Hogan
(Mental), Susanne Bier (In A Better World); Neil Burger (Limitless);
Andrew Jarecki (All Good Things); Peter Riegert, John Gray (White
Irish Drinkers); Doug Liman (Fair Game); Nigel Cole (Made in Dagenham);
Pamela Gray (Conviction); Roger Michell (Morning Glory); Lone Scherfig
(An Education); Richard Linklater (Me and Orson Welles); Jim Sheridan
(Brothers); Michael Hoffman (The Last Station); Juan José Campanella
(The Secret in Their Eyes); John Patrick Shanley (Doubt); Tony Gilroy
(Duplicity); Paul Schrader (Adam Resurrected); Ari Folman (Waltz with
Bashir); Peter Saraf (Sunshine Cleaning); Richard Eyre (Notes on a
Scandal); Michael Apted (49 Up, Amazing Grace); Barry Levinson
(The Humbling).
For many studios, FILMMAKERS DIALOGUE has become a
tradition to launch their latest films.
For many New Yorkers, FILMMAKERS DIALOGUE is the most
satisfying way to see movies.
Since launching FILMMAKERS DIALOGUE in 1980, with a showing
of The Elephant Man at the Library and Museum for the Performing
Arts at Lincoln Center to an audience of 100 New York film lovers
and a post-screening discussion with director David Lynch, producer
Jonathan Sanger and actor John Hurt, the series has been a special
venue for previewing the best new films and discussing the creative
process with the filmmakers themselves.
Our loyal film fans have been rewarded over the years with such
important movies as Spotlight, The Danish Girl, American Sniper,
Unbroken, Fury, The Humbling, The Judge, Nightcrawler, The Water
Diviner, The Place Beyond the Pines, Sapphire Girls, What Maisie Knew, At
Any Price, Love Is All You Need, Blue Valentine, Hereafter, Million Dollar
Baby, The Sea Inside, Out of Africa, Terms of Endearment, Gorillas in the
Mist, Field of Dreams, Scarface, In the Name of the Father, Sea of Love,
Casino, The Crying Game, Tootsie, Rain Man, Driving Miss Daisy, Traffic,
Good Will Hunting, Platoon, Jerry Maguire, Pretty Woman, Schindler’s
List, Mystic River, Jarhead, American Splendor, Vera Drake and A
Beautiful Mind.
Guest Matt Damon
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SPECIAL PROGRAMS
Guests Jim Sheridan and Daniel Day-Lewis
“A Film Buff’s Dream Come True”
-New York magazine
Guests Mark Ruffalo and Gary Winick
Guests Jennifer Connelly and Dennis Hopper
Guest Edward Norton
Guest Michael Caine
Guest Hilary Swank
toll-free tel. 877.242.7200 :: 9
ART FOR KIDS
Painting and Drawing
Grades 5 and 6
HOW TO REGISTER
Sun., Sept. 25–Dec. 4
No class, Nov. 27
Hours: 10:00 am–12:00 noon
10 sessions; $220
Students will develop their drawing and painting skills using direct
observation and imagination. Line, color, shape, perspective and
composition will all be explored. Mediums include pencil, charcoal,
watercolor and acrylic paint. Emphasis will be placed on finding
and developing a personal style.
NOTE: All materials are included in the course tuition.
Registration for Art for Kids program can ONLY be completed
through the MAT Art Education Department. For further
information, please contact Anna Roman at 212.592.2445
or email [email protected].
SVA’s art classes for young people in grades K-9 enrich a child’s
knowledge of art while exploring a wide variety of materials.
Classes maintain a teacher-student ratio of one to eight and are
taught by SVA art educators and teaching assistants who are also
professional artists.
PROGRAM POLICIES
Punctuality is expected and late arrivals will not be admitted into
class. All children grades K through 6 must be accompanied by an
adult to and from each class. Those enrolling in Foundations in Art
Grades K Through 2, must be five years of age or older.
NOTE: Space is limited and registration takes place on a first-come,
first-served basis.
Foundations in Art
Grades K Through 2
Sat., Oct. 1–Dec. 10
No class, Nov. 26
Hours: 10:00 am–11:30 am or 1:00 pm–2:30 pm
10 sessions; $220
Children are encouraged to express themselves, emphasizing
creativity and experimentation through age-appropriate projects,
themes and skills. A variety of materials and techniques will be
explored, including watercolor, tempera, mixed media, clay and
cray-pas, as well as methods in printmaking.
Foundations in Art
Grades 3 and 4
No class, Nov. 26
Hours: 10:00 am–11:30 am or 1:00 pm–2:30 pm
10 sessions; $220
Through experimentation with various materials and methods,
children will develop their art-making skills and explore personal
areas of creative interest. A variety of materials and techniques
will be explored, including watercolor, tempera, mixed media,
clay and cray-pas, as well as methods in printmaking. Discovering
different artists and their work will also be a part of this course.
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Painting and Drawing
Grades 7 Through 9
Sun., Sept. 25–Dec. 4
No class, Nov. 27
10 sessions; $220
In this class emphasis will be placed on developing basic drawing
and painting skills and techniques as well as expanding each
student’s visual vocabulary. A variety of media will be used, including drawing pencils, pastels, charcoal, acrylic, pen-and-ink and
watercolors. Students will learn the tools and techniques for
creating from direct observation as well as from their imagination.
Portfolio Preparation
Grades 7 and 8
Fri., Sept. 23–Dec. 2
No class, Nov. 25
Hours: 4:00 pm–6:00 pm
10 sessions; $260
Designed for students who plan to apply to specialized art high
schools, this course will provide instruction in creative techniques
and portoflio preperation. Students will expand their knowledge
of art ideas and techniques while exploring a variety of materials,
including charcoal, pencil, cray-pas, watercolor, pen-and-ink and
acrylic paints.
PRE-COLLEGE PROGRAMS
FOR HIGH SCHOOL STUDENTS
SVA in Rome
SPRING 2017
Study and work in Rome “the Eternal City,” considered by many
to be the most artistically rich city in the world, and without
doubt the most important city in the history of the West. For the
spring semester, a small group of students study and work with
local artists and art historians, as well as a historian of ancient and
medieval Rome.
In addition to classroom and studio time, students will have
access to the histories of Rome’s architecture, literature and art
through field trips to monuments, ruins, churches, museums and
galleries throughout Rome and its environs. Shared apartments
furnished with kitchens are provided. Whether you’re interested
in photography, painting, design, or any other form of art, the
spring semester in Rome is a great opportunity to relive and
research the experiences of countless artists and thinkers who,
for centuries, made Rome the cultural epicenter of civilization in
the West.
Summer 2017
Each summer, the School of Visual Arts offers an intensive three-week
pre-college program designed for high school students. Topics include
advertising, animation, cartooning, computer art, filmmaking, screenwriting, fine arts, graphic design, illustration, interior design, photography, and visual and critical studies. This is an exciting opportunity
for high school students to learn more about their fields of interest,
prepare a portfolio and earn three college credits. A limited number
of merit-based scholarships are available.
For more information visit: sva.edu/rome or contact Melinda
Richardson, manager of International Exchange Programs via
email: [email protected].
In addition to attending courses, students participate in many directed activities that take advantage of our location in the heart of New
York City. Past activities have included visiting museums and galleries
and attending Broadway plays. Housing and meal plans are available.
FOR FURTHER INFORMATION
Please visit our website at sva.edu/pc or contact:
Office of Admissions/Pre-College
New York, NY 10010-3994
Telephone: 212.592.2100
Fax: 212.592.2242
toll-free tel. 877.242.7200 :: 11
SPECIAL PROGRAMS
Fall 2016/Spring 2017
Animation
Art-Making as a Visual and Critical Experience
Cartooning
Computer Animation with Maya
Darkroom Photography
Digital and Darkroom Photography
Digital Photography
Figure Drawing
Graphic Design
Interior Design
Introduction to Film Production
Introduction to Oil Painting
Portfolio Workshop
Screenwriting Workshop
Studio Photography
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online courses
ONLINE COURSES
TECHNICAL REQUIREMENTS FOR ONLINE COURSES
The School of Visual Arts online courses are hosted in Canvas, our
College-wide learning system. Most computers (5 years old or newer
recommended) can access these online courses without a problem.
The courses work with Windows (Windows XP, SP3 and newer),
Macintosh (Mac OSX 10.6 and newer), and Linux (chromeOS).
Participants will need a minimum screen size of 1024x600 (the
average size of a netbook) and good broadband Internet connection
to participate in the online courses.
NEED ADVICE ON COURSES?
Please call 212.592.2251
Visit us at sva.edu/continuing-education/online-courses to view
up-to-date course information.
Principles of Visual Language: Form and Color
OLC-1018-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
In this course we will explore ways to create engaging and
memorable two-dimensional design. Students will be encouraged
to adopt a disciplined, yet playful, creative process. Using accessible
materials and simple techniques, both handmade and digital, we
will experiment with the principles of two-dimensional design and
color theory, including figure and ground; unity of form; contrasts
(geometric & organic forms, shape, size, direction, texture);
unit/super-unit/pattern; visual hierarchy, harmony, rhythm and
narrative; the seven color contrasts; color illusion and color
expression. The goal of the course is to develop a creative toolkit
of ideas and techniques, embrace a unique awareness of form and
color, strengthen design skills and encourage a way of learning
through experimentation and play. This is a basic-level course and
is open to all students.
NOTE: This course is fully online and asynchronous. Without a set
meeting time each week, students can learn and participate on
their own schedule. However, there are assignments that will be
due by specific dates.
RICHARD MEHL, designer, photographer, writer. BA, Minnesota
State University; MFA, Yale University. Professional experience
includes: Design director, Piderit & Partners; senior designer,
JPMorgan Chase; designer, Metalsmith. Clients include: Leonard
Cheshire Disability, New Hampshire Institute of Art, Accenture.
Author: Playing with Color: 50 Graphic Experiments for Exploring
Color Design Principles. The instructor’s work can be viewed
at: richardmehl.com.
Typography and Identity
OLC-2051-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
Typography is an essential tool for visual communication. At its
best, typography is the art of deploying symbols of language in
order to articulate voice, identity, meaning and beauty. In this
course you will explore how to use this incredible tool as a means
to an end. Ultimately, you will create a typographically driven
identity for a cultural institution in your community. We will
explore both the formal (beautiful) and practical (useful) aspects
of typography, while learning about the history of typography and
the anatomy of letterforms. A series of related exercises will be
undertaken to further comprehend the subject matter; some of
these will be traditional approaches to typography, others more
contemporary practices. Design doesn’t happen in a bubble, and
typography doesn’t happen without voice and intent. We will
toll-free tel. 877.242.7200 :: 13
ONLINE COURSES
Through online courses at SVA, students have the opportunity to
learn from outstanding professionals working in New York City and
around the world. Honoring the progressive history and vivid spirit
of SVA Continuing Education, we are carefully creating and curating
a broad range of online courses. It is now easier than ever before to
connect with timely and innovative educational content and build
global communities of learners and practitioners of art and design.
SVA online courses are accessible to all learners, giving students
the opportunity to build their skills and extend their creative community from any location with an Internet connection. Our online
courses are asynchronous to enable students to participate from
any time zone and on their own schedule. In other words, they are
filled with opportunities for interaction with the instructor and other
students, but it is not required that you log in at a specific time of
the week.
Currently available courses are listed by category: Design, Fine
Arts/Illustration, Photography, Writing in the Visual Arts. New
categories will be released on a continual basis.
DESIGN
ONLINE COURSES
consider the impact of our work beyond the classroom and how
it may be perceived in distinct cultural contexts. This course is
open to intermediate- to advanced-level design students.
PETER KAPLAN, lead designer, Museum of Arts and Design.
Professional experience includes: Graphic designer, NYC & Co;
graphic designer, REDCAT, Los Angeles. Group exhibitions include:
Art Directors Club; Galeries du Cloître, École des beaux-arts de
Rennes, France. Awards and honors include: Type Directors Club,
Art Directors Club, AIGA. The instructor’s work can be viewed
at: pkap10.com.
FINE ARTS AND ILLUSTRATION
ONLINE COURSES
Coding for Artists:
The Web as Installation Site
OLC-1411-A
NEW
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
This course is designed for all artists interested in using the
Internet for conceptual and creative production. We will focus
on building a foundation of core coding languages and platforms
such as HTML, CSS, JavaScript and Python. Since this course is
designed for artists and not programmers, we will be focusing
on developing proficiency with coding-based terms and concepts
while working on building web projects. Some strategies explored
in the projects will include animation, interactivity, video, sound
and engagement with existing web platforms. Along with a rigorous studio-based technical approach, the class will also broach
art-making using the web in historical and contemporary practice.
NOTE: This is an introductory course, no prior coding experience
is necessary. This course is fully online and asynchronous. Without
a set meeting time each week, students can learn and participate
on their own schedule. However, there are assignments that will
be due by specific dates.
MICHELLE LEFTHERIS, fine artist; systems administrator, MFA
Photography, Video and Related Media Department, School
of Visual Arts. BFA, University of Cincinnati; MFA, with honors,
Rhode Island School of Design. Group exhibitions include: Taylor
Gallery, Meriden, NH; Fleetwing Gallery, Lambertville, NJ; S.S.
Nova, Cincinnati; Centre for Contemporary Art, Glasgow; Project
Space; Semantics Gallery, Cincinnati; Wassaic Project, NY; Esther
M. Klein Art Gallery, Philadelphia; Museum of Art, Rhode Island
School of Design, Providence; Allegra LaViola Gallery.
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Emergent Art Worlds:
Alternatives to the Gallery System
OLC-2743 -A
NEW
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
This course aims to help you find appropriate audiences for your
artwork outside of the gallery system by understanding the
New York “art world” not as a monolithic entity, but as a series of
interconnected, intimate art worlds. In weekly video lectures and
readings, you will be introduced to contemporary artists working
in multiple art worlds, from networks of conceptual artists to
solidarity co-ops, from alternative currency groups to online startups. We will examine how every aspect of your production and
distribution process—from sourcing materials to organizing your
studio, from licensing to acquisition—can deepen your work and
remind people of your intentions as an artist. Over 12 weeks, you
will be challenged to respond to my conviction that “form follows
supply chain,” as you identify art worlds that are appropriate to
your work. The goal of the course is to help you find satisfaction
and community in your local art world by learning about the
experience of art worlds in New York City as well as those locations
to which your fellow students are connected.
due by specific dates. This course is open to all students.
CAROLINE WOOLARD, visual artist. BFA, The Cooper Union.
One-person exhibitions include: Museum of Modern Art, Cullman
Research Center; University of Massachusetts, Amherst; Chazan
Gallery, Providence, RI; The Watermill Center, NY. Group exhibitions
include: Whitney Museum of Art; Brooklyn Museum; Museum of
Art and Design; Cleveland Museum of Art; Tate Modern, London;
Creative Time; Museum of Contemporary Art, Roskilde, Denmark;
Hunter Harlem Gallery; Mediamatic, the Netherlands; Exit Art;
Deitch Projects. Publications include: The New York Times, Bomb,
Art in America, Wall Street Journal, The Atlantic, Gnome, Hyperallergic,
Washington Post, Times-Picayune. Awards and honors include:
National Endowment for the Arts, Rockefeller Cultural Innovation
Fund, Eyebeam. Artist residencies include: Queens Museum Studio
Program; Museum of Modern Art; Lower Manhattan Cultural
Council; University of Wisconsin, Madison. The instructor’s work
can be viewed at: carolinewoolard.com.
The Pow!
Creating Art that Packs a Punch
OLC-2208-A
NEW
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
Satiric artist and illustrator Steve Brodner guides you on a lecture/
workshop adventure through the world of the strongest art in
illustration. The greatest of all time will be discussed. And the
greatest in you is encouraged. Individual attention will be given.
The tools worked on in this course will be extremely useful in
illustration, cartooning, poster and website design. Great periods
in the history of political and socially focused art will be discussed,
including the work of Daumier, Nast, Grosz, Art Young, Ralph
Steadman and David Levine. Classic works will be examined for an
Video and Social Media
as Agitational Art
OLC-2922-A
NEW
Sept. 19–Nov. 12
8 weeks; 2 CEUs; $280
While “The Revolution Will Not Be Televised…” (Gil-Scott Heron),
it may still appear on your Twitter feed. In this course students
will use video and online social media platforms (post-Internet
art) to create artworks that will develop your online identity as
a public presence for change. As a resource, students will explore
contemporary revolutionary, viral or subtly subversive post-Internet
artworks and public activism on YouTube, Twitter, Tumbler, podcasts
or Facebook taking place around the world. Through individual
and collaborative group projects students will create online artworks
that can be evocative, humorous and/or subversive in execution.
NOTE: This course requires a laptop with working video and sound
recording capabilities and Internet access. No programming or
coding skills required. This course is fully online and asynchronous.
Without a set meeting time each week, students can learn and
participate on their own schedule. However, there are assignments
that will be due by specific dates.
KAT CHAMBERLIN, conceptual artist, curator. BFA, with honors,
University of California, Santa Barbara; MFA, School of the Art
Institute of Chicago. Exhibitions include: Gana Art Gallery; Ice Box
Project Space, Crane Arts, Philadelphia; Barbara and Steven
Grossman Gallery, School of the Museum of Fine Arts, Boston;
Museum of Contemporary Art, Chicago; The Body Appropriate,
San Francisco; McNish Gallery, Oxnard, CA; Seoul International
New Media Festival, Korea; Betty Rymer Gallery, Chicago;
Antimatter Film Festival, Victoria, Canada; Chicago Underground
Film Festival. Awards include: Jacob K. Javits Fellowship; Toby
Devan Lewis Fellowship; New York Art Residency and Studios
Foundation; Makrolab Residency, V2_Institute for the Unstable
Media. The instructor’s work can be viewed at: katchamberlin.com.
PHOTOGRAPHY
ONLINE COURSES
Creative Seeing
OLC-2314-A
Sept. 19–Nov. 12
A compelling photograph never starts with the camera, but always
with the spirit of the photographer holding it. This fine-art class
will encourage you to explore and expand your creative vision
with weekly seeing and photography exercises. This course is
recommended for beginner photographers and for those who
want to refresh, recharge and fine-tune how they see the world
and the possibilities for making creative images.
SEÁN DUGGAN, photographer, author, digital consultant.
Books include: Photoshop Masking and Compositing; Real World
Digital Photography; The Creative Digital Darkroom; Photoshop Artistry.
Other publications include: Photoshop User, Layers, Digital Photo Pro.
The instructor’s work can be viewed at: seanduggan.com.
Social Documentary:
Photographing with Your Heart
OLC-2321-A
NEW
Sept. 19–Nov. 12
Passion, empathy and hard work are the basic requirements to tell
a meaningful story. This intense course will push you to connect,
see, write and relate to your subjects to tell their story. With a
camera in your hand and an open heart, you can make a difference
in this world. Students are required to be curious, open, engaged
and supportive of one another.
PREREQUISITE: A working knowledge of essential camera and software operations, including using manual exposure, downloading,
resizing and uploading digital files.
RADCLIFF “RUDDY” ROYE, documentary photographer.
Publications include: The New York Times, Vogue, Jet, Ebony, Essence.
Group exhibition: National Gallery of Jamaica. Awards include:
Fellow, New York Foundation for the Arts.
toll-free tel. 877.242.7200 :: 15
ONLINE COURSES
understanding of what makes them tick. Interviews with current
practitioners such as Peter Kuper and Frances Jetter will help
illuminate the process. Every week will feature a quick project
as well as help with a long-term assignment. Brodner hones your
work in a step-by-step process from general to specific inspiration,
while, at all times, holding to your ideas and passions and keeping
your eyes on the prize. This course is open to all students.
STEVE BRODNER, illustrator, satirical artist, commentator.
BFA, The Cooper Union. Contributor: Rolling Stone, GQ, Esquire,
The Nation, Harper’s, Mother Jones, The New York Times, Los Angeles
Times, Washington Post, Slate, National Lampoon, Sports Illustrated.
One-person exhibition: Norman Rockwell Museum, Stockbridge,
MA. Books include: Fold and Tuck; Freedom Fries: The Political Art
of Steve Brodner. More than 200 assignments for The New Yorker,
including the Naked Campaign film series. Awards include:
Augustus Saint-Gaudens Medal for Lifetime Achievement in Art,
The Cooper Union; Reuben Award, National Cartoonist Society;
Aronson Award for Social Justice Journalism; Hamilton King
Award, Society of Illustrators; Art Directors Club; Society of
Publication Designers; Communication Arts. The instructor’s work
can be viewed at: stevebrodner.com.
#GenderSexPhoto:
Queer Studies, Feminist Art
OLC-2334-A
NEW
Sept. 19–Nov. 12
Through creative exercises, group discussions and guided projects,
students in this course will develop a coherent series of images
in response to the conceptual intersections of queer studies and
photography. We will review theoretical texts in queer studies
alongside the artworks of photographic artists whose work engages
with the radical concepts of the discipline. Topics to be considered
will range from such issues as representations of queer identity in
early photography, surrealism and the self, sex and censorship
in photography, and (in)visibility of transgender bodies. With NYC
as the backdrop, students will be introduced to cultural landmarks
related to course topics. Virtual class visits will be conducted to
such venues as The Leslie Lohman Museum of Gay and Lesbian
Art; The Archive at the Lesbian, Gay, Bisexual and Transgender
Community Center; and The Elizabeth A. Sackler Center for
Feminist Art at the Brooklyn Museum. Students in this class will
create (or expand upon) a cohesive body of work, effectively
incorporate queer theory in artworks and artists’ statements, and
contribute research to a blog dedicated to class topics.
PREREQUISITE: A working knowledge of your camera and editing
software of your choice. It is recommended that participants have
some experience with creating cohesive projects or portfolios.
No prior coursework in queer studies is necessary.
LORENZO TRIBURGO, photographer. BA, New York University;
MFA, School of Visual Arts. Professional experience includes:
Commercial photographer, Straub Collaborative, Inc. One-person
exhibitions include: Portland State University, OR; University of
the Arts, Philadelphia; Governors State University, Chicago;
Newspace Center for Photography, Portland, OR. Group exhibitions
include: Portland Art Museum, OR; Magazzini del Sale di Palazzo
Pubblico, Siena, Italy; Bruce Silverstein Gallery; Photographic
Resource Center, Boston; Philadelphia Photo Arts Center; Ouede
Kerk, Amsterdam; DutchTrading Post, Nagasaki. Publications
include: Transgender Studies Reader 2, Routledge, Portland Monthly,
Photo District News. Awards and honors include: First Place, The
Curator Competition, Photo District News; First Place, Pride Photo
Award, Amsterdam; The Center for Fine Art Photography.
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WRITING IN THE VISUAL ARTS
ONLINE COURSES
Artist as Philosopher
OLC-2614-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
Philosophical inquiry has accompanied creative practice throughout
the history of human consciousness. Artists, musicians, poets and
writers have long used their work to grapple with questions of
existence, purpose, meaning, beauty and spirituality. Furthermore,
philosophy may be read as artistic output, and visual art understood as critical discourse. The artist is a philosopher and the
philosopher is an artist. In this hybrid theory/practice course,
students will develop their own personal projects and writings in
context to class readings, and present a final portfolio of critically
engaged creative work. Through online lectures presented in a
variety of media, guest speakers, film screenings, interactive
portfolio critiques and chat room discussions, each student’s work
will be reviewed and discussed in relation to texts by a range of
artists and philosophers, from ancient to contemporary. Readings
will include a wide variety of texts, including those by Deleuze,
Kant, Hegel, Nietzsche, Marx, Baudrillard, Kristeva, Foucault,
Barthes, Lacan, Butler and Žižek, as well as both artwork examples
and writings by artists and creative thinkers. This course aims
to expose artists to the millennia of conceptual thought that
contextualizes their work today, reveal the poetic potentiality of
philosophy, and create a dialogue about the role of ideas in the
artist’s studio.
NOTE: There is no prerequisite for this course; however, it is
recommended that students have some prior experience with
art and/or philosophy. This course is fully online and asynchronous.
Without a set meeting time each week, students can learn and
participate on their own schedule. However, there are assignments
that will be due by specific dates.
KEREN MOSCOVITCH, visual artist, curator, writer. BA,
Georgetown University; MFA, School of Visual Arts. Exhibitions
include: Bruce Silverstein Gallery; I-20 Gallery; SLAG Gallery;
Foley Gallery; Vlepo Gallery; Visual Arts Gallery; Laune Gallerie,
Tokyo; SoFA Gallery, Bloomington, IN; Art + Commerce Festival
of Emerging Photographers; Rosenzweig Gallery, Durham, NC;
Makor/Steinhardt Center; (the) Slap-n-Tickle (me) Gallery,
Kansas City, MO. Performances include: Gasser Grunert Gallery,
Chelsea Museum, AW Asia, Grace Exhibition Space. Collections
include: The Core Club, Noble Maritime Museum, Kinsey Institute.
Publications include: New York magazine, Zeek, Playboy, Visual Arts
Journal, Quest, PolicyMic, Der Spiegel, Peek, Huffington Post, ArtPulse,
Domino, Industry. Monograph: Me Into You. The instructor’s work
can be viewed at: kerenmoscovitch.com.
Scriptwriting Workshop
OLC-2619-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
From The Walking Dead to The Avengers, comics have gone from a
niche medium to one that is an indelible part of popular culture.
Yet, very few people understand the unique narrative possibilities
of comics, the role of a comics writer (we don’t just write word
balloons) and how to write sequential narratives. This course will
be an in-depth, practical exploration of the art of creating and
the business of selling comics, with students learning from the
instructor’s long professional experience as well as that of highly
accomplished guest lecturers. This is a basic-level course and
is open to all students. It will focus on learning by doing, with
students writing full comics scripts.
NOTE: Open to all levels. No art or writing background is required.
This course is fully online and asynchronous. Without a set meeting time each week, students can learn and participate on their
own schedule. However, there are assignments that will be due by
specific dates.
MARK SABLE, writer for comics, film, live-action television,
animation and theater. BA, cum laude, Duke University; MFA,
New York University; MBA, University of California, Los Angeles;
JD, University of Southern California. Clients include: Marvel;
DC Comics; Image Comics; Boom! Studios; Fox Television; NBC
Universal; Warner Bros.; Cartoon Network. Publications include:
Graveyard of Empires; Fearless; Hazed; Grounded; Popgun; 24seven;
Comic Book Tattoo Tales Inspired by Tori Amos; What If? Spider-Man;
Marvel Super Heroes: The Fantastic Four; Batman: Two Face Year
One; Teen Titans Spotlight: Cyborg; Teen Titans: Cold Case; Supergirl;
Unthinkable; Cthulhu Tales. Webcomic: Heroes Online Graphic
Novel. Awards and honors include: Reynolds Price Scriptwriting
Award, Duke University; Graduate Award in Screenwriting,
Tisch School of Arts. The instructor’s work can be viewed
at: http://marksable.tumblr.com.
OLC-2623-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
In this fast-paced practicum course, students will come in with
an idea for a new screenplay and will leave with a completed first
draft of a script. Pages submitted each week in the booth will
receive supportive and thoughtful critique from the instructor
and fellow students. Along the way, lively, multimedia lectures on
particular elements of the form and practical advice about the
business will be given. Both new and experienced screenwriters are
welcome. Let’s have a screenwriting blast together this semester.
ED VALENTINE, writer. BA, Boston College; MFA, New York
University. Television credits include: Sesame Street; The Fairly
OddParents; Doc McStuffins; Marvel’s Ultimate Spider-Man; Marvel’s
Avengers Assemble; My Little Pony: Friendship is Magic; Transformers:
RescueBots; Bubble Guppies. Plays include: Lizzie, or: Hatchet Hour;
Betsy Ross LIES!; Bunyan’s Body; 27 Pigs; The Turk; AmericaLand;
Scout’s Honor! (Snipe Hunt and Becky’s Beaver); A Brightness Over
New Jersey; Women Behind the Bush. Awards and honors include:
Daytime Emmy Award; Tisch School of the Arts Writing Award,
New York University; Kennedy Center Award; Zarkower Award,
Hunter College; Playwriting Award, American Globe Theater.
The instructor’s work can be viewed at: edvalentine.com.
READY TO REGISTER?
Online, by phone, or in person.
Details on page 4
toll-free tel. 877.242.7200 :: 17
ONLINE COURSES
Writing for Comics
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professional development
CORPORATE TRAINING
The Division of Continuing Education offers customized training
programs that are designed to help an organization achieve its business
goals more effectively. Whether using our state-of-the-art facilities or
convenient on-site corporate training facility, SVA will tailor training
sessions to meet the particular needs of your organization.
For further information please contact Akiko Takamori, associate
director, Division of Continuing Education, at 212.592.2052, or
email [email protected].
¿HABLAS DISEÑO?
CURSOS PERSONALIZABLES
El Departamento de Educación Continua ofrece cursos personalizables diseñados para asister en los objectivos educativos de su organización. Usando nuestras tecnologías de punta, SVA personalizará
los cursos para satisfacer los requisitos particulares de su institución.
Para mayor información, favor de comunicarse con Nika Lopez,
coordinadora de programas, Departamento de Educación Continua,
al 212.592.2057 o por email a [email protected].
COURSES
Visit us at sva.edu/ce to view up-to-date course information.
The Business of Art: Plan, Launch
and Grow a Creative Business
PDC-3499-A
Mon., Sept. 19–Oct. 31
6 sessions; 1 CEU; $280
As a creative talent contemplating life as a founding business
owner, you examine the mindset and resources necessary to
launch and sustain a creative agency/business, and how best to
navigate growth of your organization from start-up to successful
going concern. You are encouraged to think beyond the creative
mindset and learn the basics necessary to successfully lead and
manage a business, including sales, marketing, operating systems,
human resources, finance, legal and other skill sets critical to the
sustainability of any business. The components of an actual sixpart business plan used to create a successful creative agency will
be identified and discussed. You will develop a business plan for a
creative services organization you conceive. You will be challenged
in how you think of owning a business. Perceptions will be
snapped as you create a business plan.
STEVE CRANFORD, creative chairman, Whisper. BS, Pittsburg
State University; JD, Washburn University. Clients include: Real
Madrid C.F., IBM, FOX Sports 1, EFE Agency, March of Dimes
International, NH Hotel Group, NBC Local Media. Publications
include: Financial Post, Fast Company. The instructor’s work can be
viewed at: whisperny.com.
Make It Happen: Project Management Basics
PDC-2526-A
Thurs., Sept. 22–Dec. 1
10 sessions; 3 CEUs; $400
If you want to be able to rely on your plans, you need to transition
from an ‘accidental’ to a ‘consistent’ project manager. In this
course you’ll learn and practice the skills and attitudes needed
to achieve your goals on time and within budget, while meeting
production values. Be ready to share both horror and success
stories to identify what you should repeat, and what to avoid.
GABRIELA MIRENSKY, director, Awards and Design, The One
Club. BA, Universidad Autónoma Metropolitana; MFA, CCNY.
Professional experience includes: Partner, director of client service, Alfalfa Studio; director, competitions and exhibitions, AIGA.
Produced projects in collaboration with: Chermayeff & Geismar,
Gensler, Milton Glaser Inc., Pentagram. Publications include:
The New York Times Magazine, HOW, Print, I.D., Folk Art. Awards
include: AIGA 50 Books/50 Covers, SEGD Award, New York
Book Show.
toll-free tel. 877.242.7200 :: 19
The Division of Continuing Education offers specialized courses to
help students and professionals manage the business aspects of a
creative enterprise or a career as a practicing artist.
Whether you are embarking on a new career or are seeking
heightened marketability in your current field, our professional
development program will help launch your goals.
Our faculty includes artists, art administrators, curators, lawyers,
marketing professionals, production managers, producers and writers
who can assist you in presentation skills and help you to capitalize
on your unique skill sets and interests. Gain valuable insight into the
inner workings of a career in the arts, identify your options and
learn how to survive in a continually evolving marketplace.
Take charge of your career. At SVA, you will find the professional
guidance you need, in a vital community of your peers and a supportive
and stimulating environment.
The Art of Connecting
Studio Art Therapy Techniques
PDC-3477-A
Wed., Sept. 28–Nov. 16
In our digitally mediated communications space there is a direct
link between your income and your people skills. Scientific studies
show how a vital ingredient of expertise is deliberate daily practice.
We can learn from world-class artists and athletes who engage in
private daily practice to achieve successful results. This one-of-a-kind
course teaches a private daily practice that focuses on improving
the specific skills that are vital to clear communication, initiative
and self-confidence, and that significantly enhance the quality of
human interactions in the arts, in business, for the educator or any
professional, and in one’s personal life. Specific training activities
and exercises that integrate naturally into one’s daily life will be
the core of our work. In a non-judgmental, supportive and collaborative environment, this course will demonstrate how to
improve your skills to listen, validate and respond to the needs
of clients, collaborators and customers. This course is for people
who want to make a positive difference in people’s lives.
JOSÉ ANGEL SANTANA, mediator; actor; director; founder,
YouAnd: The Art of Connecting. BA, University of Vermont;
MA, PhD, Pacifica Graduate Institute; graduate, The Neighborhood
Playhouse (studied with Sanford Meisner). Clients include: United
States Army Central Electronic Command: Human Interaction
Training; Hendricks Institute, REDKEN Corp.; Vermont State
Maximum Security Prison; City at Peace. Awards include: Local Hero
Award for Arts and Crime Prevention, City of Santa Barbara, CA;
Santa Barbara Independent Theater Award; Arts for Change Award,
Bravo Television Network. Artist residency, California Arts Council.
The instructor’s work can be viewed at: joseangelsantana.com.
FIC-3518-A
Thurs., Oct. 20–Nov. 10
Join other art therapists and artists in studio work that is designed
to heighten perception and sensory awareness. Combining an open
studio and thematic approach, experientials will be used to explore
personal and artistic identity, as well as facilitate an understanding
of the art-making processes art therapists employ with clients.
While designed for art therapists, the course is open to all, and
geared to help tap into your inherent creativity.
RYAN KATHLEEN NORTON, art therapist, ATR-BC, LPC.
BFA, MPS, School of Visual Arts; MS, Monmouth University.
Professional experience includes: Art therapist/senior primary
therapist, Adolescent and Child Partial Hospitalization Program,
Liberty Health, Jersey City Medical Center. Group exhibitions
include: Lafayette Hotel, San Diego CA; Cloître Saint-Paul,
Saint-Rémy-de-Provence, France.
Art Therapy as a Career
PDC-1026-A
Thurs., Sept. 22–Oct. 14
This course will provide an overview of careers in the field of art
therapy. Topics will include: the history and theoretical foundations
of art therapy; methods and materials; art development, assessment
and diagnosis; the use of art therapy in a professional and community
setting. Sessions will consist of lectures as well as art experientials.
JENNIFER TEDESCO, art therapist, ATR-BC, LCAT. BA, Syracuse
University; MPS, School of Visual Arts. Professional experience
includes: Art therapist, Tuesday’s Children.
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Voice-Over: Professionally Produced Demo
Boot Camp
CFC-1476-A
Sat., Sun.; Dec. 10–Dec. 11
Hours: 10:00 am–4:00 pm
2 sessions; 1 CEU
$480; studio fee, $150
This boot camp is an intensive two-day, voice-over workshop
where students will work on targeted copy chosen for their
particular area of expertise and geared toward students’ specific
talents, including narration/industrial, audio books, promos,
commercials, urban, character or kids’ demos. Students will be
coached to perfect their delivery in a professional recording
booth. By the end of the workshop, students will have recorded
five to six pieces of copy that will be professionally mixed and
produced into a finished demo.
PREREQUISITE: CFC-1443, Voice-Over: Inside the Industry—Learn
How to Find Your Voice.
VALERIE SMALDONE, principal, Valerie Smaldone Media
Worldwide; voice-over artist and live announcer; host, Valerie’s
New York; actress; producer; writer; celebrity interviewer, 92Y;
talent coach. BA, Fordham University. Professional experience in
voice over includes: NBC, Investigation Discovery, CBS, Lifetime,
HBO, Cinemax. Featured in Secrets of Voice-Over Success. Radio
credits include: WOR, WLTW (Lite-FM) New York; J-WAVE
Tokyo; emcee/host: Clinton Global Initiative, The Kennedy Center,
National Association of Professional Women, The Broadway
League, tonyawards.com, Channel 13. Awards include: Radio
Personality of the Year Award, Billboard; Radio Personality of the
Year Award, Radio and Records; Metro Air Award; Golden Apple
Award, America Women in Radio and Television; Woman of the
Year, Italian Welfare League; Italian Heritage and Culture Committee;
Humanitarian Award, Sass Foundation for Medical Research.
The instructor’s work can be viewed at: valeriesmaldone.com.
Producing the Feature Film
Inside the Gallery
PHC-3723-A
Tues., Oct. 18–Nov. 8
This course is geared toward fine art photographers who are
interested in developing a long-term association with a gallery.
We will discuss many of the elements required for a mutually
successful artist/gallerist relationship so that you are better
prepared to begin working with a gallery. Practical advice on
approaching galleries, professionalizing your portfolio and having
a clear artist statement will be addressed, as well as current trends
in photography. Readings from Seven Days in the Art World
will be recommended.
NOTE: Please bring a portfolio of prints and an artist’s statement
to the first session.
MICHAEL BRIAN FOLEY, photographer; owner, Foley Gallery.
BA, Boston College. Exhibitions include: Fraenkel Gallery, San
Francisco; Ebert Gallery, San Francisco; Soletti Gallery, Milan;
San Francisco Camerawork. Collections include: Washington Center
of Photography. Publications include: Photo Metro, Quiver, Zyzzyvz.
Exploring Career Opportunities for Illustrators:
A Drawing Workshop
ILC-3596-A
Thurs., Sept. 29–Nov. 17
8 sessions; 2.5 CEUs; $340
This course is for students who would like to explore drawing
and career possibilities through a variety of forms, including storyboarding for film/music videos, editorial illustration, cartooning
and comics, storyboarding for advertising, children’s book illustration
and drawing as a fine art medium. In-class exercises, lectures and
replicated real-world job assignments will broaden each student’s
sense of what is possible through drawing. With weekly class crits
as well as individual guidance, students will learn to find their voice
by concentrating on drawing techniques and styles. Home assignments will be encouraged, working from thumbnail sketches to
final portfolio pieces. How to find clients, pricing and presentation
of work will be covered.
GRANT SHAFFER, storyboard artist, editorial illustrator, visual
artist, cartoonist and children’s book illustrator. Represented
by: Warshaw Blumenthal, La MaMa Gallery, Storyboards Inc.
Editorial clients include: The New Yorker, The New York Times,
Interview, Out, Bust, The New York Times Magazine. Film credits
include: The Girl on the Train, Angels in America, Zoolander, Closer,
Wall Street 2, Charlie Wilson’s War, The Secret Life of Walter Mitty,
Species, , Ransom, Little Children, Extremely Loud and Incredibly Close,
Meet The Parents. Music video clients have included: Beyoncé,
Madonna, Michael Jackson. Advertising clients include: Hershey’s,
Calvin Klein, Unilever, FedEx, Pfizer, Budweiser, Poland Spring, Visa,
Walt Disney Co. One-person exhibitions include: Half Gallery, La
MaMa Gallery, The Future Perfect Gallery, Marlen Gallery, Gallery
220. Group exhibitions include: NutureArt Gallery; Tokyo Photo
Art Fair; Milk Gallery; Rx Art Party. Comic strips: 30 Kinds of Passion,
N.Y. See, Castillo del Lago, The Pier. Children’s book illustrations:
Three Magic Balloons, The Adventures of Honey and Leon. The instructor’s
work can be viewed at: grantshaffer.com.
READY TO REGISTER?
Details on page 4
toll-free tel. 877.242.7200 :: 21
DTC-2373-A
Mon., Sept. 19–Nov. 28
NEW
Producing the Feature Film is for anyone who wants to learn the
ins and outs of producing a feature film from both financial and
creative viewpoints. The course will cover all aspects of producing
from the idea stage through to delivery of the picture. Industry
professionals will be brought in to give supplemental lectures in
such areas as entertainment law when we are dealing with options,
and we will hear from a studio executive who will discuss acquisitions,
as well as a line producer and other appropriate professionals. The
course is formatted in the same way that the development and
production of a feature is structured.
SOFIA SONDERVAN, film producer. BFA, magna cum laude, New
York University. Film and television projects include: London Town,
The Man Who Knew Infinity, Urge, Bringing Up Bobby, Cadillac Records,
Feel The Noise, The King. Awards include: Best Film, Black Reel Award.
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advertising
ADVERTISING
CORPORATE TRAINING
INFORMATION SESSION
One night: Wed., Aug. 24
6:30 pm–8:30 pm
OPEN TO THE GENERAL PUBLIC, FREE OF CHARGE
So what’s a career in advertising like? We’ll answer that question,
and the next two: What are the courses like, and how can they
help me get a job in the creative department of an ad agency?
This lecture will have several members of the advertising faculty
(current creatives) on hand, expressing their passion for creating
ads and explaining how their courses work. We will discuss the
roles of art directors, copywriters and creative directors. There will
be time for questions and answers, and a short portfolio review
at the end of the program. You’ll leave inspired to create great
advertising…or at the very least, knowing if this is a career you
want to pursue.
NOTE: This information session will be held at 209 East 23rd Street,
room 502, 5th floor. Seating is given on a first-come, first-served
basis. Session begins promptly at 6:30 pm.
MODERATOR: JOHN REA, group digital creative director,
Havas Worldwide.
COURSES
Build a Great Portfolio, Get a Great Job,
Win Lots of Awards, Have a Nice Life
ADC-2030-CE
How do you get that great first job that opens the door to a great
career? It almost entirely depends on the quality of your portfolio.
That’s what this course is about. We’ll teach you how to generate
and complete first-rate campaigns, ads and innovative alternative
media. In the process, you’ll learn a lot about concept and art
direction—tools you’ll need to take your book from scraps of
paper on a wall to finished ads. To find out more about this course
please visit: jervispels.tumblr.com.
NOTE: This course may be taken for undergraduate credit.
Please refer to ADD-2030-CE in the credit courses section of this
bulletin for details.
PAUL JERVIS, creative director, art director. BS, University of
Maryland. Professional experience includes: Partner, creative
director, Young & Rubicam; group creative director, Backer
Spielvogel Bates. Accounts include: Citibank, United Airlines,
Philips Magnavox, Showtime, Xerox, General Foods, Partnership
for a Drug-Free America, Cunard. Awards include: Hall of Fame,
CLIO; Art Directors Club; The One Show; ANDY; ADDY;
Graphis; Communication Arts. The instructor’s work can be viewed
at: jerviscreative.com.
RICHARD PELS, writer, creative director. MFA, University of
Oregon. Professional experience includes: Group creative director,
senior vice president, Saatchi & Saatchi, BBDO; group creative
director, executive vice president, Scali, McCabe, Sloves. Campaigns
include: MCI, United States Air Force, Kleenex, Hallmark.
Awards include: Gold pencils, The One Show; Art Directors Club;
CLIO; ANDY; Cannes Lion. The instructor’s work can be viewed
at: richardpels.com.
Take the Fear Out of a Blank Piece of Paper
ADC-2030-A
Mon., Sept. 19–Dec. 12
Take the fear out of creating, take the fear out of presenting, and
take the fear out of working in the big time. This course is all about
experiencing life in a big ad agency while working on assignments
for your book. You will learn strategy, execution and how to edit
your own work. As important as what to do is learning what not
to do. You’ll see presentations that include how competing agency
teams answer the same creative brief, and do work in every facet
of media—a full 360 approach. You’ll find your passion for creativity
and realize how much fun it can be.
NOTE: Please bring an ad that you like and one that you don’t like
from a current publication to the first session. This course will be
held at FCB Garfinkel, 100 West 33rd Street.
STEVE KASHTAN, executive creative director, FCB. BFA, School
of Visual Arts. Professional experience includes: Creative director,
DDB Worldwide, NY; Lowe Worldwide; BBDO. Accounts include:
United Technologies, New York Lottery, Subaru, Museum of
Sex, Valvoline, Ricoh, Macy’s. Awards and honors include: Art
toll-free tel. 877.242.7200 :: 23
ADVERTISING
As much as anything, advertising is the art of persuasion. Powerful
images and messages require effective design and writing skills
combined with a clear understanding of the product in its market
context. Whether you come here to refine your portfolio, acquire
new skills or throw some ideas up on a wall, the School of Visual Arts
is the place to study. Many of New York’s most brilliant ad minds
have taught here, a tradition that continues today.
We aim to help you think creatively, as a writer and as a designer.
If your career choice is art direction, we recommend taking courses
in design and computer art, providing you with the digital technology in use at the top agencies. Courses in painting, drawing, sculpture
and color theory will help train your visual perception.
Facing off with a blank piece of paper until you hit on a killer idea
is the work that’s going to get you the “When can you start?” portfolio. As much as our instructors love the wordplay, nothing turns
them on as much as the business of advertising. You will experience
the excitement of a strategizing session during which a marketing
problem is solved, the brand is enhanced, and the headline and
visual that launch a winning concept are created.
Directors Club, Print, Creativity, Communication Arts, Graphis,
The One Show, Obie. The instructor’s work can be viewed
at: stevekashtan.com.
LISA RETTIG-FALCONE, executive vice president, executive
creative director, FCB Garfinkel. BFA, School of Visual Arts.
Professional Experience includes: Executive creative director,
Havas Worldwide; creative director, DDB NY, Lowe Worldwide;
TBWA; Scali, McCabe, Sloves. Clients have included: Reckitt
Benckiser, United Technologies, Macy’s, Subaru, Museum of
Sex, General Motors. Awards include: Art Directors Club, CLIO,
Athena, Print, Creativity, Communication Arts, ADDY, Graphis,
The One Show. The instructor’s work can be viewed
at: cargocollective.com/lrettigfalcone.
Advertising—Part 1
ADC-2030-B
First, we will show you what great print ads look like. Then, each
week, you’ll try to do them yourself. We’ll tell you what you did
wrong, and then we’ll tell you what else you did wrong. Then, you
get better. In the end, you’ll get smarter, a few pieces for your
portfolio and maybe a 401(k). Trust us, we used to be you. Former
students have been featured in The One Show, CMYK Top New
Creatives, Archive Magazine Student of the Year competition, and
NewCreatives.com Best Ads. They have also gone on to work at
agencies, including TBWA/Chiat/Day, Crispin Porter + Bogusky,
DeVito/Verdi, Publicis, Havas, McGarryBowen, BBH, Grey, Red
Tettemer O’Connell, Tribal Worldwide, Merkley+Partners, Team
One and Saatchi & Saatchi.
JOHN CLEMENT, art director. BFA, with honors, School of Visual
Arts. Professional experience includes: TBWA/Chiat/Day;
DeVito/Verdi. Accounts include: Jameson, Dos Equis, Snickers,
Sprint, Starburst, Meijer, Absolut Vodka, World Trade Center
Memorial Foundation, Verizon, National Thoroughbred Racing
Association, Jackson Hewitt, Universal Music. Awards include:
Grand Prize, Radio Mercury Award; gold and silver lions, Cannes
Film Festival; Gold Cube, Art Directors Club; gold and silver pencils, The One Show; gold and silver awards, ADDY; Telly; D&AD;
People’s Choice Awards, ANDY; CLIO; Chicago Film Festival;
New York Festivals; Communication Arts.
DAN GIACHETTI, writer. BFA, School of Visual Arts. Professional
experience includes: TBWA/Chiat/Day; DeVito/Verdi. Accounts
include: Snickers, Sprint, Dos Equis, Starburst, Jameson, Absolut
Vodka, World Trade Center Memorial Foundation, Meijer, Jackson
Hewitt, Verizon, National Thoroughbred Racing Association,
Universal Music. Awards include: Gold and silver lions, Cannes
Film Festival; gold and silver pencils, The One Show; Gold Cube,
Art Directors Club; gold and silver awards, ADDY; Telly; Silver
and People’s Choice Awards, ANDY; CLIO; Chicago Film Festival;
New York Festivals; Grand Prize, Radio Mercury Award;
Communication Arts.
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Oooh, Advertising Sounds Like an Interesting
Career, I Think I’ll Take This Course
ADC-2030-C
Tues., Sept. 20–Dec. 13
Believe it or not, that’s all it takes to start a career in advertising—
a desire. But in order to succeed, you need to be able to generate
great ideas. Because without a great idea, you can’t create a great
ad. In this course, you’ll be challenged to do great ads. You’ll do ads
in class and you’ll do ads at home. You’ll do ads with a partner and
you’ll do ads by yourself. You’ll throw some away. You’ll keep the
rest. And if by the end of the semester you still think advertising
sounds like an interesting career, we’ll talk about how your great
ads will land you a job. To find out more about this course please
visit: whatstudentssaid.com.
NOTE: Please bring a black marble notebook to the first session.
GREGG BENEDIKT, creative director, Fahrenheit 451. BA,
University of Delaware. Professional experience includes:
The Chapman Agency, Young & Rubicam/WCJ, K&D, Ryan
Drossman/MARC USA. Clients have included: Nikon, HewlettPackard, Sony Electronics, Everlast Clothing, MTV’s The Grind,
HBO, Guinness, AT&T Worldnet. Awards include: World Medal,
New York Festivals; Advertising Women of New York; ADDY;
Communication Arts; Art Directors Club; Best of New York.
RICH DEGNI, vice president, creative director, Source
Communications. BFA, School of Visual Arts. Professional
experience includes: Creative director, Young & Rubicam/WCJ;
The Chapman Agency, Ryan Drossman/MARC USA, Draft
Worldwide. Clients have included: Nikon, HP, Sony Electronics,
AT&T WorldNet, Everlast Clothing, MTV’s The Grind, Prodigy,
HBO, Guinness. Awards include: New York Festivals World
Medal, Advertising Women of New York, Communication Arts,
ADDY, Best of New York, Art Directors Club.
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Killer Work: How to Make Ideas That Make Other
People Jealous
Producing Commercials for Television
in the 21st Century
ADC-2164-A
Field trips to state-of-the-art production facilities and services are
a featured aspect of this course. Top advertising agencies have
long demonstrated their ability to turn out more superb television
entertainment than the Hollywood studios turn out as programming.
This course delivers an in-depth review of today’s world of advertising for film production for television as well as the Internet.
Topics include: steps followed by the assigned agency producer,
budgeting, bidding, preparation of estimates, organizing the
production, storyboard audio break downs, casting, costuming,
location selection, set needs, shooting and editing, recording and
mixing, and the completion of the commercial for on-air/Internet
release. The working relationships of the writer, art director and
producer will be examined, as well as viewing commercials of note,
and hearing from guest lecturers on producing the best work.
ROBERT NAUD, author, director, producer, Bob Naud
Productions. MA, Columbia University; EdD, California Coast
University; Royal Academy, London; Musée Comando, Paris.
Author: Lights, Action, Madison Avenue. Professional experience
includes: ABC, CBS, NBC, McCann-Erickson, Young & Rubicam.
Creator: Swiss Family Robinson, Turner Broadcasting; Helen Hayes on
Helen Hayes; National Alcoholism Test; Celebrities on Camera; You Bet
Your Life; NBC’s The Doctors; director, technical advisor, Gossip Girl.
Finding Brand
ADC-2413-A
Mon., Nov. 7–Dec. 12
Business strategy identifies the core values of an organization
and product as a touchstone to decision-making. This course will
blend the creative and analytical points of view, such as marketing
and soft skills, to effectively communicate these values (and differences) so that the product becomes category defining, and the
logical selection for consumers faced with competing market
choices. Through an exploration of competitive contextualization
and market opportunity, we will cover how to define the product
fingerprint to elevate the organization and product beyond commodity and into valuable brand property. Cross-cultural sensitivity
and intellectual property considerations will be considered, and
use of traditional and new media in broadcasting the brand will
also be addressed.
Creative Thinkers Wanted
ADC-3078-A
Wed., Sept. 21–Dec. 14
It’s what the business of advertising has been looking for since
the beginning of time: intelligent, creative thinkers. Everybody will
start this course with a goal to become an art director or a copywriter. And they’ll all have good ideas. But good isn’t enough.
And that’s what we’re here for. I’ll show you how to take those
good ideas and make them great. Whether print ads, ambient
executions or interactive pieces, they will have smart, creative
thinking behind them. I’ll help shape your way of thinking so your
ideas can get you into awards ceremonies, published annuals and
the high life of the advertising rock star. The only prerequisite
for this course is an open mind and a serious work ethic. I’ll
help you do the rest. To find out more about this course please
visit: creativethinkerswanted.blogspot.com.
NOTE: Please bring a black marker and sketchpad to the first session.
MATT TARULLI, creative director, Organic/BBDO. BFA, School
of Visual Arts. Past professional experience includes: Digitas,
Kirshenbaum Bond Senecal + Partners, TBWA/Chiat/Day,
Wunderman, Havas. Accounts include: eBay, Virgin Atlantic Airways,
Land Rover, Dos Equis, Samsung, Fiji Water, Edward Jones, Dell,
Johnnie Walker, Citibank. Awards include: The One Show, Art
Directors Club, Graphis, Creativity, John Caples International Award,
ADDY, Communicator Award. The instructor’s work can be viewed
at: creativethinkerswanted.blogspot.com.
toll-free tel. 877.242.7200 :: 25
ADVERTISING
ADC-2030-D
There’s no magic in coming up with great ideas. But exactly how
to do it is not always taught in advertising. Killer Work focuses
squarely on the how: How to jumpstart your thinking and come up
with lots of ideas right from the start, and how to turn the best of
them into brilliant executions. You’ll not only leave with great ideas
for your book, but also, more importantly, you’ll leave understanding and having practiced the powerful methods and techniques
that lead to expansive, brilliant creative thinking. Killer Work is a
great first course for those starting out as well as for those who
want to up their creative thinking game. See what writers and art
directors have to say about Killer Work at: brandnvinc.com/blog
for more information.
NOTE: Our first assignment is Dropcam, the home monitoring
camera. For the creative brief, go to: brandnvinc.com/blog.
MARK SIMON BURK, founder, BRANDnv. BA, Colorado College;
Columbia University; Northwestern University. Professional
experience includes: Deutsch Advertising, BBDO, JWT, Interview.
Clients have included: Ikea, Condé Nast, Tommy Hilfiger, Burger
King, Pizza Hut, Taco Bell, United States Navy, AIG, Foot Locker,
Campbell’s, Kraft, Kellogg’s, General Mills. Awards include: The
One Show, Communication Arts, ADDY, ANDY. The instructor’s
work can be viewed at: brandnvinc.com.
More than 300 awards for commercials, including: Kodak, Frito
Lay, Tang, Clairol, Travelers Insurance, Coca-Cola, Westinghouse,
Palmolive, Exxon, Lipton, Excedrin, Colgate, Chrysler, Bristol
Myers Squibb.
Build an Integrated, Digital, UX Mindful, Big Idea
Portfolio: It’s What You Need to Get a Job Today
ADC-3681-A
Tues., Sept. 20–Nov. 29
Whether creating an ad portfolio or already have one, whether
you’re a writer or an art director, in order to break through the
crush of portfolios out there, you need a book filled with big
ideas. Ideas so big they trigger multichannel executions. If your
ideas only work in one medium, you simply won’t get hired today.
This course will teach you how to create and develop a quality
portfolio of ad campaigns across channels that span the web,
mobile, social, ambient, guerrilla, print, outdoor, and beyond.
We will discuss the digital ecosystem and how to best display your
ideas in your portfolio. Examples of noteworthy integrated concepts and User Experience (UX) inspired thinking will be shared.
With an introduction to the key principles of interactive design,
you’ll create multi-platform solutions for consumer products and
learn how to maximize their reach and usability. And given that all
assignments will be critiqued from both a creative and UX perspective, your portfolio will show that you truly understand digital
integration...a must for tomorrow’s creatives. We know what
today’s creative directors look for in new talent and we want your
portfolio to be sought after. We’ll help you master creative/UX
integration, so you can build an A-list portfolio. The kind that puts
you in the strongest position to move into, or move up in, the
business, and get the most creative and interesting work possible.
JOHN REA, executive creative director, Havas Worldwide.
BFA, School of Visual Arts. Professional experience includes:
McCann-Erickson, Wells Rich Greene BDDP, JWT, Rolling Stone.
Accounts include: Coppertone, Claritin, Volvo, Coca-Cola,
Ferrero, HBO, Intel, Paramount Pictures. Awards include: Art
Directors Club, International Film and Television Festival, Cannes
International Advertising Festival, Adweek’s 100 Best, Type
Directors Club, Archive, Graphis. The instructor’s work can be
viewed at: cargocollective.com/johnrea.
EFRAT WEIDBERG, senior experience designer, SapientNitro.
Professional experience includes: Mobile UX designer, Amazon;
user experience designer, Infusion; senior interactive developer/
designer, EDGE DNA. Accounts have included: 9/11 Memorial
Museum, Samsung, MetLife, Time Warner Cable, New York Life,
Ciroc Vodka, Sotheby’s Diamonds.
PDC-3499-A
be identified and discussed. You will develop a business plan for
a creative services organization you conceive. You will be challenged in how you think of owning a business. Perceptions will be
PDC-2526-A
Book Show.
READY TO REGISTER?
Details on page 4
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written work with other mediums that draw on student interests
and expertise. This course is open to all students.
BARBARA ADAMS, sociologist. Publications include: Design as
Future-Making; Experience Design: Concepts and Case Studies. Awards
and honors include: Andrew W. Mellon Foundation; The Graduate
Institute for Design, Ethnography & Social Thought, The New
School for Social Research; University of Amsterdam.
ITZIAR BARRIO, visual artist. BA, University of Deusto. Oneperson exhibitions include: Barcelona Museum of Contemporary
Art; Rincón Projects, Bogotá; Abrons Arts Center; El Museo de los
Sures; White Box; Artium Museum, Vitoria-Gasteiz, Spain;
Agenzia04, Bologna. Group exhibitions include: Salzburger
Kunstverein, Austria; Galerie Thomas Henry Ross, Montreal;
Museum of Contemporary Art, Belgrade; Storefront for Art and
Architecture; Judith Charles Gallery; No Longer Empty; Sala
Rekalde, Bilbao; Tribes Gallery. Publications include: The New York
Times, Art in America, Huffington Post, Time Out New York. Awards
and honors include: Foundation of Contemporary Arts, Brooklyn
Arts Council, Basque Government Visual Arts. Residencies include:
International Studio and Curatorial Program; Skowhegan School
of Painting and Sculpture; El Museo de los Sures; Bilbao Arte
Foundation; La Escuelita Nicaragua; Etxepare Basque Institute.
The instructor’s work can be viewed at: itziarbarrio.com.
Issues and Ethics: Art and Design in a Globalizing
World
VCC-2271-A
Designed to identify the broad issues that are shaping design and
art in the twenty-first century, in this course we will focus on the
concept of culture and its dynamics in light of the radical changes
brought about by globalization. In a world where people, ideas
and goods circulate more widely and more rapidly than ever
before, we will discuss the resulting cultural fusions and collisions
as sources of new understanding, not just as catalysts of conflict.
Beginning with an introduction to cultural theory, students will
examine the ways in which design and art not only mirror the
state of contemporary culture, but also the ways in which these
fields intervene in cultural dynamics. Weekly readings will draw
from anthropology, sociology and philosophy, and we will consider
how these accounts relate to art and design practices. During
studio time, students will develop a project of their choice that
demonstrates the potential of designers and artists to serve as
both mediators and critics of culture. The projects will combine
toll-free tel. 877.242.7200 :: 27
ADVERTISING
PDC-3477-A
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animation
ANIMATION
COURSES
Animation can stir the imagination and change the way we view
the world. It can be funny, serious, poignant or completely absurd.
Animation appeals to all ages and has the ability to transcend cultural
differences. Bringing the pleasures and excitement of animation to
the screen requires talented, dedicated and imaginative people.
At the School of Visual Arts, seasoned professionals teach students
how to give life and motion to ideas and characters, in a program that
blends the practical, the theoretical and the creative. Our students have
gone on to careers as artists and directors for feature films, television,
commercial production and independent film projects. Fine arts and
stop-motion animation, digital composition, storyboarding and special
effects makeup are some of the courses offered this semester.
NOTE: Students cannot take equipment out of the College or use
¿HABLAS DISEÑO?
INFORMATION SESSION
One night: Tues, Aug. 23
6:30 pm–8:30 pm
What are the career opportunities in film and animation in New
York? What do you need to begin? Spend an evening with some
of our continuing education film and animation faculty; see their
students’ work, hear them discuss it and let them answer your
questions on how to begin working in these dynamic fields.
NOTE: This information session will be held at 209 East 23rd
Street, room 502, 5th floor. Seating is given on a first-come,
first-served basis. Session begins promptly at 6:30 pm.
MODERATOR: VALERIE SMALDONE, principal, Valerie Smaldone
Media Worldwide; voice-over artist and live announcer;
host, Valerie’s New York; actress; producer; writer; celebrity
interviewer, 92Y; talent coach.
Animation: An Introduction
ANC-1022-A
Hours: 7:00 pm–10:00 pm
12 sessions; 3.5 CEUs
$480; equipment and materials fee, $100
This course is designed for students from all disciplines who want
to explore the dynamic medium of animation while finding their
personal style and vision. Basic animation concepts and techniques,
such as storyboard, layout, extremes, timing, in-betweening,
weight, squash-and-stretch, overlapping action, arcs, walk cycles
and acting breakdowns will be covered through hands-on exercises
and projects. Conducted as a creative workshop, students will
concentrate on developing their own animated short. Emphasis
will be placed on innovation, invention and experimentation.
MARTIN ABRAHAMS, producer, director, animator, video editor.
School of Visual Arts. Animated projects include: ABC News,
Great Bear, Sesame Street, Burger King. Music videos include:
Rolling Stones, Lou Reed, Lords of the New Church. Fashion
projects include: Vogue, Bazaar, CFDA Awards. Multiple-monitor
exhibitions include: Xerox, Sony, Nynex. Awards include: School
of Visual Arts Alumni Award, CLIO.
Digital Storyboarding
ANC-1024-A
Storyboards are the visual blueprints of your film ideas, and an
essential component of previsualizing and organizing your story
during preproduction. This course will thoroughly acquaint students
with Toon Boom’s Storyboard Pro, a powerful application for
drawing and formatting sequential images into storyboards and
animatics. We will explore the aesthetic fundamentals of storyboarding (including narrative, dramatic beats, cinematography,
blocking, performance and draftsmanship), and the technical
aspects of Storyboard Pro (organization of images, text, panels
and layers; timeline functionality; camera moves; transitions;
synchronized audio tracks). Assignments are designed to guide
students through this versatile application, beginning with toolbars,
views, preference interfaces and drawing/painting tools, and finishing with the creation of fully realized storyboards and animatics.
NOTE: Please bring a USB memory stick (8GB minimum) to each
session. Students are strongly encouraged to have their own copy
of Toon Boom Storyboard Pro for use outside of class time. Lab
time is included in the instructional hours; additional lab time is
not available.
FRANK GRESHAM, animator. BFA, with honors, Virginia
Commonwealth University. Professional experience includes:
Series animation director, The Cramp Twins, Speedbump The Roadkill
Possum; storyboard supervisor, The Venture Brothers, Downtown;
animator, The Off-Beats, Sesame Street; head of production design,
Moxy & Flea, Brickface & Stucco; creative associate producer, voice
director, Dennis & Gnasher; voice-over actor, Beavis & Butt-Head,
toll-free tel. 877.242.7200 :: 29
ANIMATION
CORPORATE TRAINING
equipment and facilities outside of class time unless indicated in
the course description.
The Head. Awards and honors include: Excellence in Animation
Award, ASIFA-East; Design Award, ASIFA-East; Pulcinella Award.
The instructor’s work can be viewed at: frankgresham.com.
Animate Your Stories From Start to Finish
ANC-1027-A
Hours: 7:00 pm–10:00 pm
This course will explore how to create an animated short working
in all stages of animation such as continuity design, layout, character development and soundtrack mix. Emphasis will be placed on
timing, gesture and body language in animation. To develop and
refine drawing skills, students will draw from the model. How to
complete a short by adding soundtracks of voice-over actors,
sound effects and music will also be addressed.
CHRISTINE ROEPKEN, animator, fine artist. BFA, School of Visual
Arts; M.Ed., Adelphi University. Projects include: Shake It Up!
Publications include: Three Armed Squid, Fenix Gear #1.
Creating Animation for Children’s Television
ANC-1029-A
Children’s programing utilizes aspects of traditional entertainment
like picture books, comics and comedic animation while often
incorporating a core curriculum of specific literacy, math, science
or pro-social goals. Students will learn how to take complex ideas
and express them in the most appealing and accurate ways possible.
Through explorations of the field’s roots in books, advertising,
and game design, students will have the opportunity to create
their own concepts for an animated program and experience many
aspects of this fascinating and often controversial field, such as
learning to impart real-world knowledge while still seeking to
build a successful brand. Students will learn to sharpen and refine
their ideas by writing and designing a pitch document. The class
will discuss animation screenplay basics, designing art for clarity
and economy, and the challenges of organically incorporating your
ideas into the worlds you create.
JEFF BUCKLAND, animation director, art director, designer,
writer. BFA, School of Visual Arts. Professional experience includes
projects for: Disney, MTV, Sesame English, PBS, Scholastic, Random
House Children’s Entertainment. Projects include: Beavis and ButtHead Do America. Doug, 101 Dalmatians, PB&J Otter, Stanley, Pinky
Dinky Doo, WordWorld. The instructor’s work can be viewed
at: jeffbuckland.com.
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Pitch Your Television Series to Industry Experts
CFC-1334-A
This course will provide students with the opportunity to meet
top production executives, showrunners and network executives
who will share their expertise on what it takes to create a powerful
television series. Students will learn the key skills of series development, networking, pitching a series and negotiating the best
deal. You’ll screen compelling sizzle reels, learn how to attract
an agent, how to get into the networks and how to pull the series
elements together. These industry pros will give you insider tips
on taking your project, and your career, to the next level.
JIM ARNOFF, television/web packaging agent, entertainment
lawyer, certified life coach. BA, University of Pennsylvania;
JD, with honors, George Washington University; CPC, Institute
for Professional Excellence in Coaching. Programs packaged
include: What’s Good, Band of Ballers, MTV2; I Spy, HBO; Burly
Sports, CBSSports.com; Rahzel’s Rap Minute, atom.com; Wake Up
America, FOX; Verizon/Fios makeover specials; Back Spin, Bravo;
short animated films, Sesame Street. The instructor’s work can be
viewed at: arnoffco.com.
Introduction to TVPaint
ANC-2259-A
This introduction to the 2D bitmap-based program TVPaint will
take students through a series of skill-specific exercises, which will
incorporate basic animation principles. Students will be introduced
to a range of the application’s animation production tools, including
storyboarding, basic audio editing and creating animated brushes.
Focus will be placed on TVPaint’s unique graphical user interface
and creating quality drawing. Assignments will be geared toward
each student’s level of experience. Students will complete a short
animated clip that includes color, camera movement and audio.
DAVID MESLIN, senior new media developer, NetDimensions,
Ltd. BA, University of Connecticut; MFA, University of California,
Los Angeles. Professional experience includes: senior designer,
Big Twist. Film projects include: Loading, Snow Motion, Flower Power,
Heart. Awards and honors include: Card Walker Award, University
of California, Los Angeles; Chuck Jones Award, University of
California, Los Angeles.
Composition and Design for Animation
ANC-2056-A
Good compositional skills are essential for creating compelling
images that will engage the audience. Picture making has its own
language. The goal of this course is to enrich each student’s visual
vocabulary. Through demonstrations, supplemental material and
an emphasis on individual instruction, we will examine: How to
utilize the rules of composition to direct viewer interest; application
of camera dynamics and staging guidelines to thumbnail sketching,
Drawing Workshop: Concentrated for Animation
ANC-2060-A
In animation it is essential to develop the ability to draw anything,
especially the human figure, as a believable thing in a believable
space. In this intensive class we will work through a series of proven practices that will enhance your drawing abilities no matter
what your level and put you on a knowledge path about drawing
that will give you the freedom to create and learn on your own.
The pencil and brush will be the primary tools to make investigative and effective line drawings that capture ideas of structural
anatomy, rhythm and movement. An animator must learn to
be able to tap into the powerful methods of quickly combining
observational response and archetypes of form. From short pose,
working with nude and clothed, male and female models we will
explore the in-class demonstrations and exercises for a more comprehensive understanding of the human form as well as the variety
of relevant processes in drawings from the past to present. The
lessons will cover structural (synthetic) anatomy and the use of
lines to create spatial and dynamic drawings, essential to the often
inter-related fields of animation, cartooning and illustration. Be
prepared to work fast and make a lot of drawings. To see examples
of class and student work, please visit: stephengaffney.tumblr.com.
NOTE: Please bring a pad of smooth, white drawing paper (18x24"),
soft graphite pencils, pencil sharpener and eraser to the first session.
STEPHEN GAFFNEY, fine artist, muralist, designer. BFA, School
of Visual Arts; MFA, New York Academy of Art. One-person
exhibitions include: First Street Gallery; Galerie Timothy Tew,
Atlanta. Group exhibitions include: Samson Fine Art; McKee
Gallery; Bachelier Cardonsky Gallery, Kent, CT; New York
Academy of Art. Projects include: Sogno Ristorante, Fairfield, CT
(interior design); Church of St. Agnes (altarpiece); Marine Park
Playground; P.S. 58 Library; Playground for All Children; Paul’s
Daughter (signs and design). Clients include: Hazelwood Foods,
U.K.; New York City Department of Parks and Recreation.
Awards and honors include: National Academy of Design, Edwin
Austin Abbey Fellowship. The instructor’s work can be viewed
at: stephengaffney.net.
Drawing Workshop: Advancing in Animation
ANC-2062-A
In animation, the core practice of figure drawing from life is
essential. In this course, students will build on multidisciplinary
concepts of figure structure, design, action and direction of space
through line drawing. The focus on the human form, via synthetic
anatomy, goes a little deeper, elemental to creating convincing
characters that intend to move. Making controlled and improvisational composition drawings from principles hiding in plain sight,
we will explore and strengthen our sense of perception. Touching
on tone and color, we will examine the essence of design by
learning from Bronzino and Bugs Bunny alike. The course centers
on engaging exercises and practices that can help you in your
continuing drawing practice.
PREREQUISITE: ANC-2060, Drawing Workshop: Concentrated
for Animation, or very confident drawing skills.
NOTE: Please bring a pad of smooth, white sketch paper (18x24"),
and pencils to the first session.
of Visual Arts; MFA, New York Academy of Art. One-person
exhibitions include: First Street Gallery; Galerie Timothy Tew,
Atlanta. Group exhibitions include: Samson Fine Art; McKee
Gallery; Bachelier Cardonsky Gallery, Kent, CT; New York
Academy of Art. Projects include: Sogno Ristorante, Fairfield, CT
(interior design); Church of St. Agnes (altarpiece); Marine Park
Playground; P.S. 58 Library; Playground for All Children; Paul’s
Daughter (signs and design). Clients include: Hazelwood Foods,
U.K.; New York City Department of Parks and Recreation.
Awards and honors include: National Academy of Design, Edwin
Austin Abbey Fellowship. The instructor’s work can be viewed
at: stephengaffney.net.
toll-free tel. 877.242.7200 :: 31
ANIMATION
storyboarding and layout; perspective as an expressive tool and
its uses and limitations; creating depth without perspective; value
arrangement and color fundamentals; character analysis and construction. Exercises are designed to replicate actual job assignments
and will include developing exterior and interior locations and
the placement of characters within. Students seeking critique on
outside projects are encouraged to do so. This course will provide
a solid foundation to allow each student’s imagination to soar.
DONALD POYNTER, art director, designer, storyboard artist,
effects animator. BFA, University of Cincinnati; MFA, School
of Visual Arts. Professional experience includes: R/Greenberg
Associates, MTV Animation, The Ink Tank, Jumbo Pictures,
Perpetual Motion Pictures. Film credits include: Little Shop of
Horrors, Predator, Predator 2, Beavis & Butt-Head Do America, The
Compositor. Television credits include: Beavis & Butt-Head, Daria,
Downtown, Doug, Clifford’s Puppy Days, Sheep in the Big City.
Stop-Motion Animation
ANC-3020-CE
Hours: 6:00 pm–10:00 pm
$520; materials fee, $115
Stop-motion animation is an art form as well as a viable career.
In a workshop setting, students learn to make easy-to-build foam
rubber animation models and sets, using established industry techniques, and animate them using state-of-the-art digital animation
equipment. Students are encouraged to make films of their own
designs with a focus on creating a piece for a “demo reel”—the
single most valuable tool in finding a job as a stop-motion animator.
Lectures revealing the day-to-day, inner workings of the stop-motion
business from an industry professional will be included.
NOTE: This course may be taken for undergraduate credit. Please
refer to AND-3020-CE in the credit courses section of this bulletin
for details.
AURELIO VOLTAIRE HERNANDEZ, director, stop-motion
specialist. Creator, Chi-Chian, the first stop-motion/Flash
series on the Internet. Clients include: MTV, Epic Records,
Palladium, Budweiser, Dentsu Japan, Parker Bros., Nickelodeon.
Awards include: Gold Award, Telly; Gold Award, Broadcast Design;
International Film and Television; Flash Forward Film Festival.
The instructor’s work can be viewed at: voltaire.net.
Makeup for Film and Television
CFC-2239-A
10 sessions; 3 CEUs
This course will explore various makeup approaches for working
in the entertainment industry. We will investigate topics such as
natural beauty makeup, male grooming, creating and covering
tattoos, special effects and period makeup. Students will apply
makeup techniques that are essential for both the stage and
screen. Manual brush, sponge applications, airbrush technology
and body makeup will be discussed, demonstrated and practiced.
JENAI CHIN, makeup and body artist. BFA, School of Visual Arts.
Film and television projects include: The Amazing Spider-Man 2,
The Bounty Hunter, Queens of Pop, Nurse Jackie, College Humor, Make
Me a Supermodel, Win Win. Editorial projects include: The New York
Times, ESPN The Magazine Interview, New York magazine, Oprah, GQ
Style, Inked. The instructor’s work can be viewed at: jenaichin.com.
Special FX Makeup and Silicone Prosthetics
for Film and Television
CFC-2243-A
10 sessions; 3 CEUs
Bring horror, sci-fi and fantasy characters to life. Learn how
professional Hollywood makeup artists create fictional characters
for TV and feature films. In this course, students will be introduced
to the basic gore-and-accident-victim effects as well as some of
32 :: sva.edu / ce
the groundbreaking silicone prosthetic makeup FX techniques.
Demonstrations will include how to lifecast a model and the
proper uses of unusual mold-making and casting materials.
CARL PHILIP PAOLINO, producer, director, screenwriter,
production designer. BFA, School of Visual Arts. Director/producer: The Sickness, The Halloween Pranksta. Commercial credits
include: Celebrity Deathmatch; Victoria’s Secret; Saturday Night Live;
Nintendo; Burger King; MTV Video Music Awards; The Goat, or
Who is Sylvia? Novels include: Penny Dreadful and the Poisonberry
Fortune, The Secret of the Cybersapiens. The instructor’s work can
be viewed at: paolinostudios.com.
Body Casting as an Art Form
FIC-2436-A
10 sessions; 3 CEUs
Have you ever wanted an exact copy of your face, head, hands,
torso—or a combination—to keep for prosperity? Perhaps you want
to create work that would be enhanced with body castings. Through
a variety of mold-making techniques and the use of some very
unusual materials, the goal of this course is to do just that. We will
explore the newest materials in the commercial market for casting
the human body, as well as discuss their benefits and hazards.
Only safe and non-toxic materials will be used. Demonstration will
include casting stones, urethanes, gelatin and silicones. Each student
will create a personal or commercial project.
NOTE: This course does not include access to the SVA Sculpture
Center outside of class hours.
Writing an Animation Feature-Film Screenplay
ANC-2137-A
How to transform an original idea into a strong story treatment
and then a final script is the focus of this course. Each student will
take his or her concept and develop it into the 12 steps of a hero’s
journey by learning how to create strong characters (hero, villain,
mentors and sidekicks), compile a mythology of rules for their
special worlds, and then incorporate those ingredients into a strong
story. We will discuss how to keep the project both specific and
broad, unique yet familiar (a mind-boggling reality in Hollywood),
in order to achieve the ultimate goal: franchise status. Throughout
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the development process, students will strengthen their stories
and explore how to monitor the marketability of their characters,
with an emphasis on honing dialogue, so that it appeals to both
children and adults. Students will complete this course with a polished animation script, a command of the development process,
and a much fuller understanding of the animation film industry.
JAMES GRIMALDI, screenwriter. BA, University of Toronto;
MSW, Yeshiva University. Professional experience includes: Film
development, 20th Century Fox, New Line Cinema. Clients include:
Disney, Hyperion Publishers, Imagineering. Screenplays include:
Bubbles, Faster!, Movable Village. Co-writer: Before the Bomb.
Publication: Variety. Awards and honors include: Cannes Film
Festival, Slamdance, International European Independent Film Fest.
ANC-3276-CE
Sat., Sept. 24–Dec. 3
Hours: 10:00 am–3:00 pm
10 sessions; 5 CEUs
Designed as a working studio, this course will take students through
all stages of the animation process to create personal animated
projects. Using Wacom tablets and scanned drawings, we will begin
with animation drawing basics such as character development,
squash-and-stretch and follow-through. Working with Adobe After
Effects and Flash, we will begin with exercises in panning a background with a walk cycle, as well as creating abstract shapes. The
remainder of the course will be spent on layout design, animation,
scanning and color styling, audio tracks and digital composition for
postproduction. Students will work on finished personal films and
After Effects exercises.
PREREQUISITE: A basic drawing course and familiarity with the
Macintosh computer.
NOTE: Please bring a USB drive to the first session. This course is
open to animation students and those from other disciplines who
have experience working in a digital environment. Lab time is
included in the instructional hours; additional lab time is not available. This course may be taken for undergraduate credit. Please
refer to AND-3276-CE in the credit courses section of this bulletin
for details.
THOMAS BAYNE, animator. BFA, School of Visual Arts. Film and
television projects include: The Venture Bros., SuperNormal, No
Reservations, The Bleeding House, Love and Hip Hop. Theater projects
include: Hit Lit, The Pizza Underground. Commercial spots include:
Star Wars, The Muppets, Lucky Charms. The instructor’s work can
be viewed at: tombayne.com.
ANC-3181-A
Hours: 6:00 pm–10:00 pm
This course will cover digital animation production. Students will
learn tools and techniques to create digital movies, motion graphics, effects and animation for broadcast and the web. Projects are
designed to give students production and interface knowledge
covering Adobe Photoshop, Illustrator, Flash and After Effects.
Live action, digitized hand-drawn images and photographs will be
assembled in sync to sound. Compositing exercises will cover a
wide range of features. Green screen, motion tracking, stabilization,
timeline effects, 2D and 3D space, cameras and lights are some of
the motion graphics techniques we will use. Methods of digitizing
traditional animation will also be included.
NOTE: Students have exclusive use of a computer during scheduled
class hours. Lab time is included in the instructional hours; additional
lab time is not available.
ALBERT M. PARDO, animation director, animator, character
designer, storyboard and layout artist, compositor. BFA,
School of Visual Arts. Animation projects include: Sesame Street,
Electric Company, SeeMore’s Playhouse, Friday (MTV), McGruff the
Crime Dog, Don’t Let the Pigeon Drive the Bus, Boynton Time. Web
work and commercials include: Planters, Looney Tunes, MilkBone, America’s Health Products, Uninvited Loud Precision Band
(Sandra Boynton), Yoplait Gogurt, Trix, Cookie Crisp, Cocoa
Puffs, Honey Nut Cheerios, Lucky Charms.
Final Cut Pro
CVC-2551-A
Fri., Sept. 30–Nov. 18
Hours: 6:00 pm–10:00 pm
The key editing features of Apple Final Cut Pro X, including
compositing, titles, motion graphics capabilities and digital special
effects, will be explored in this course. Students will edit assignments
and complete exercises that address narrative structure, rhythm
and pace in the editorial process. The grammar and aesthetics
of editing in the visual storytelling process will be emphasized.
PREREQUISITE: A working knowledge of the Macintosh computer
operating system.
NOTE: Lab time is included in the instructional hours; additional
KAMIL DOBROWOLSKI, film editor, sound designer, colorist.
BFA, School of Visual Arts. Credits include: Children of the Fleeting
Night; Larry Flynt: The Right to Be Left Alone; Rise of the Dead; Master
of the Kennel; Insidious; The Robber Barons of Wall Street; Silent Truth.
Clients include: Avaya, Verizon. Screenings include: Docuweek;
Full Frame; Queens; International Documentary Film Festival,
Amsterdam; Durango; Docfest; Ann Arbor; New York; Krakow;
Melbourne; Film Columbia; Berlin; Tribeca; Hong Kong; Munich;
Sydney; Maui. Awards include: Webby; best short film, Hoboken
International Film Festival. The instructor’s work can be viewed
at: kamildobrowolski.com.
toll-free tel. 877.242.7200 :: 33
ANIMATION
The Animation Studio: Putting It All Together
Digital Compositing Workshop
Final Cut Pro
CVC-2551-B
Sat., Oct. 1–Nov. 19
Hours: 10:00 am–2:00 pm
See CVC-2551-A for course description.
ANDREA ODEZYNSKA, filmmaker. Films and videos include:
Felt, Feelings and Dreams; The Whisperer; Still the River Flows; Dora
Was Dysfunctional. Screenings include: HBO, Bravo, Showtime, La
Mama. Film festivals include: Through Women’s Eyes International
Film Festival, Hamptons Film Festival, Rotterdam Film Festival,
Princeton Environmental Film Festival, Kansas City Film Festival,
Independent Spirit Festival. Awards and honors include: National
Endowment for the Arts; New York State Council on the Arts;
Kodak Corporation; Robert Wise Foundation; Best Short Feature,
Princeton Environmental Film Festival. The instructor’s work can
be viewed at: odezynska.com.
Adobe Premiere Pro
CVC-2561-A
Hours: 6:00 pm–10:00 pm
This course will introduce Adobe Premiere Pro editing software by
exploring the grammar and aesthetics of editing through a visual
storytelling process. Students will explore layout, importing,
workflow and shortcuts, as well as a variety of techniques such as
contrast, parallelism and montage. Editing exercises that address
editorial and narrative structure, rhythm and pace will be part of
the course. Each week students will work with a different aspect
of the Premiere environment.
operating system.
Avid Editing
CVC-3052-A
Hours: 6:00 pm–10:00 pm
For features, commercials, documentaries and television, Avid
is the preferred editing system of many filmmakers. Using Media
Composer software, this course will examine the principles, terms
and concepts of random-access digital editing. Students will work
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with the Avid system to edit assignments and exercises that address
editorial and narrative structure, rhythm and pace.
operating system.
PAT CARPENTER, senior editor, creative director, Rip Cord
Creative. BS, St. John’s University. Professional experience
includes: Senior editor, creative director, 1619 Creative, Turnkey
Solutions; senior editor, Definition 6. Editor: Adult Rappers. Awards
include: Gold Interactive Award, CLIO; Promax Award.
Avid Editing
CVC-3052-B
Hours: 6:00 pm–10:00 pm
LANCE CAIN, filmmaker, editor. Clients include: ABC Disney,
HBO, Vice, Showtime, Esquire TV, Lifetime, Bravo, A&E, HGTV,
The History Channel, VH1, NatGeo, E Channel, The Sundance
Channel. Television credits include: A&E in Concert: Paul McCartney
in Red Square; House of DVF; The Rachel Zoe Project; Next Step Reality;
Dark Horse Nation; House of Fab; American Restoration; Dual Survivor;
Anatomy of a Scene; HBO: Boxing; Conversations in World Cinema. Film
credits include: My Last Day Without You, A Few Days After, Friday
Night Tyke, John The Cop. Awards include: Emmy Award, ACE Award.
Advanced Editing
CFC-3561-A
Hours: 6:00 pm–10:00 pm
Focusing on media management, color correction, time re-mapping
and multi-clip editing, this lecture-based course explores the
technical and creative storytelling solutions when editing a film.
Recognizing problems in a scene, character development and
sequence/structure issues will all be explored. The course will
encompass all film forms, including narrative, documentary
and commercials music videos, as well as what is constant in all
good work.
PREREQUISITE: CVC-2551, Final Cut Pro, or CVC-2561, Adobe
Premiere Pro, or CVC-3052, Avid Editing.
Pro Tools
Voice-Over: Workshop I
CFC-3014-A
$220; materials and studio fee, $100
New York City is the country’s largest and busiest center for voiceover production. Success in this competitive market can mean
earning thousands of dollars in session fees and high residuals for
voice-over talents. Learn the essential competitive skills that can
win voice-over jobs with highly productive training sessions held
in a working recording studio, utilizing actual voice-over copy for
national commercials, corporate/educational projects and narratives,
animation work, television/radio promos, trailers and audio books.
Learn necessary professional audition skills and recording session
techniques, vocal textures/attitudes, copy interpretation and
performance execution. You’ll also receive an introduction to the
business of voice-overs, focusing on talent unions, talent agents,
producers and casting directors, and also listen to a variety of talent
demo reels, learning the key essential elements of a successful demo
reel. This course will be held in a midtown state-of-the-art sound
recording studio. Students will receive their recorded readings at
the conclusion of the course.
NOTE: Please bring a notebook, pencil, pen and yellow highlighter
STEVE HARRIS, principal, The Art of Voice, New York City;
voice-over artist; sound director; voice-over demo reel director; voice-over talent coach. Voice-over credits include:
Children’s Television Workshop, Dragon Tales, Disney World,
Shining Time Station, ABC-TV, AAMCO, Aqueduct Race Track,
AT&T, Balance Bar, Belmont Park, BMW, Bose, Boston Globe,
Cablevision, CBS-TV, City Center, Connecticut Lottery, Downey,
ESPN, Gannett, Flovent, Health Net/Smart Choice, IBM, IDB
Bank, JVC, Kellogg’s, Ken’s Salad Dressings, KFC, Kraft, Lotus
Software, Macy’s, Madison Square Boys & Girls Club, Marriott,
Meridian, NBC Sports, Nestea, New York–Presbyterian Hospital,
The New York Times, New York Lottery, NYRA, Panasonic, PBS,
Pepsi, Prevacid, Ronzoni, Salvation Army, Six Flags, Snapple, Solgar,
Sony BMG Music, SwissAir, Thomas’ Bagels, Time Warner Cable,
Toys R Us, Tropicana, United States Air Force, United States
Coast Guard, UPS, U.S. Open, The Vitamin Shoppe, WNBA,
WNET-TV 13, WQCD-FM, Yahoo. The instructor’s work can be
viewed at: theartofvoiceny.com.
Voice-Over: Inside the Industry—Learn How to Find
Your Voice
CFC-1443-A
The voice-over industry has changed dramatically. With the
explosion of voice-over casting websites on the Internet, and the
easy and inexpensive technology available to record at home,
interest in this booming field has never been greater. This course
will focus on the essential elements to become a voice-over artist
and point you toward your authentic sound, working intensively
with various types of copy most conducive to your personality.
You’ll get the inside scoop on current trends in a fun and nurturing
workshop environment. Students will have the opportunity to
work in a professional sound booth.
NOTE: Please bring a blue or colored pen to mark copy,
a highlighter and a USB drive to the first session.
EXPLORE SVA ON THE GO
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toll-free tel. 877.242.7200 :: 35
ANIMATION
CVC-3157-A
Hours: 6:00 pm–10:00 pm
Digital audio workstations are here to stay. Computers make sound
track production easy and inexpensive. Pro Tools is the leading
software in sound production. This course will demonstrate how
to digitize dialogue, create sound effects, foleys and music, and
how to synchronize these sound elements with images. The uses
of digital effects and equalizers, to balance and improve sound
quality, will also be covered. In addition to hands-on projects,
sound production examples from documentaries, features and
commercials will be screened and discussed.
operating system.
PAUL GOODRICH, sound designer; mixer; owner, Merlin Studios.
Films include: Harry Potter and the Goblet of Fire, Bunny, God Has a
Rap Sheet, Artists of Hell’s Kitchen, Quality of Mercy, Diary of a Young
Girl, Jerky Boys II. Clients include: MTV, ABC, Sony, Scholastic,
Moby, Capitol Records, Bantam Doubleday Dell, Random House,
Syfy, Time Warner, Lucasfilm Ltd. Awards include: Gold Record,
Platinum Record, Grammy, Academy Award.
Boot Camp
CFC-1476-A
Hours: 10:00 am–4:00 pm
2 sessions; 1 CEU
Voice-Over: Workshop II
CFC-4014-A
This advanced voice-over workshop is designed for aspiring voice
talents with previous voice-over/acting training or professional
experience. Learn highly competitive voice-over performance
techniques, held in a working recording studio, by recording
a variety of actual voice-over copy for national commercials,
narrations, promos/trailers, animation, and many other script
styles. All essential voice-over performance/acting techniques and
elements will be covered, preparing students for the competitive
voice-over craft industry, while preparing them to eventually
record a successful demo reel. This course will be held in a midtown state-of-the-art sound recording studio. Students will receive
their recorded readings at the conclusion of the course.
PREREQUISITE: CFC-3014, Voice-Over Workshop I, or CFC-1443,
Voice-Over: Inside the Industry—Learn How to Find Your Voice,
or equivalent.
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PDC-3477-A
Electronics and Arduino Microcontroller for Artists
Improvisational Practices for the Visual
and Performance Artist
VSC-2723-A
This open-level course introduces artists to the theory, practice
and philosophy of improvisation. With an emphasis on communication, character development, and presentness in performative
and visual work, the artist will learn how improvisation can expand
and challenge any art practice. Students will have the opportunity
to bring in their work and engage in development and critique in
a group context. It is the goal of the course to help nurture collaborative practices, promote open dialogue, and provoke curiosity
about one’s limitations, biases, interests and sense of play, allowing
students to find new and surprising entry points into their work.
Through games, exercises, group work and discussion culled from
clowning, Meisner, improv and art theory, we will explore the
impact of improvisation on one’s own creative practice, tap
into the valuable concept of “group mind,” and become familiar
with our unique and spontaneous responses to verbal, visual and
emotional stimuli. We will also take group trips to see shows
and rehearsals. The class will ensure a fun and judgment-free
environment designed to support beginners
HOLLIS WITHERSPOON, actor, writer, improv artist. BA,
Princeton University. Film projects include: The Girl in the Book,
Pennsylvania Holy Ghosts, The Film You Did Not See, The American
Ruling Class, Naked Princeton. Theater projects include: Whale Song,
Here at Home, Red Light/Green Light, Dim Sum, Emancipatory Politics,
An Idiot, Authenticating Eileen, Eat, Continuous Bloom. Performance
venues include: Whitney Museum of American Art, The Bushwick
Starr, The Ontological-Hysteric Theater, La MaMa, Dixon Place,
The Brick, New World Stages, Galapagos Art Space, Art in
General. Awards and honors include: Program Director’s Prize,
Princeton University. Member: Screen Actors Guild, Actor’s
Equity Association. Residencies include: This Red Door, The
School of Making Thinking. The instructor’s work can be viewed
at: holliswitherspoon.com.
READY TO REGISTER?
Details on page 4
toll-free tel. 877.242.7200 :: 37
ANIMATION
FIC-2642-A
This course is an introduction to electronics, for fine artists,
sculptors, installation and performance artists, as well as those
who want to add computer-controlled elements to their creations.
Using the Arduino microcontroller, we will explore some of the
essential and useful electronic sensors (light, sound, motion, sonar,
infrared, angle bending), powerful actuators (relays, motors,
servomotors, stepper motors, muscle wires and solenoids, among
others), and telecommunication tools for microcontrollers (radio
frequency transmitters, Bluetooth, Ethernet). This is a practical
course and does not include theory. Class time will be allocated
to help students work on their projects. We will also cover how to
incorporate other mediums into these projects, including video,
wood, metalworking and mechanical applications.
NOTE: The studio fee includes safety equipment, hand tools, drill
bits, saw blades, abrasives, compressed air, lubricants and wood
glue, as well as access to electronic media workstations and the
wood and metal workshops outside of class time, based on facility
availability. All other materials must be purchased by the student.
FEDERICO MUELAS ROMERO, new media artist. BFA, Universidad
de Castilla; MFA, School of Visual Arts. Group exhibitions include:
Ars Electronica, Linz; Stuttgart Filmwinter Festival; Japan Media
Festival, Tokyo; ARCO 2005, Madrid; Metronom, Barcelona;
PS122; Location One; Electrohype Biennial, Malmö, Sweden;
PikseliACHE Festival, Helsinki; New Jersey Film Festival; Cuban
Digital Salon, Havana; Katzen Arts Center, American University,
Washington, DC. Publications include: NY Arts, Rhizome Digest,
Neo2 Magazine, Tentaciones, El País, El Ciberpais, Metro, Art of the
Digital Age. Awards include: New York Foundation for the Arts,
Life 7.0, SGAE, La Caixa, Spanish Cultural Council, UNESCO,
Experimental Television Center. The instructor’s work can be
viewed at: federicomuelas.com.
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computer art, computer animation and visual effects
COMPUTER ART, COMPUTER ANIMATION AND
VISUAL EFFECTS
THE BASICS page 39
IMAGING, DESIGN AND DESKTOP PUBLISHING page 42
WEB DESIGN AND DEVELOPMENT page 46
MOTION GRAPHICS AND VISUAL EFFECTS page 52
COMPUTER ANIMATION page 53
THE BASICS
The Basics takes you step-by-step through the Macintosh or Windows
operating system. Students have exclusive use of a computer during
scheduled class hours. Lab time is included in the instructional hours;
additional lab time is not available.
Macintosh Basics
INFORMATION SESSION
SWC-1012-A
Sat., Sept. 17
Hours: 10:00 am–4:00 pm
1 session; free of charge
This workshop will introduce the Macintosh computer and operating
system. File organization, file naming conventions and file hierarchy
will all be covered. Students will learn basic desktop navigation,
such as maneuvering between multiple applications and keeping
inventory of what programs are running. Fundamentals such as network operations, printing and saving files, file formats, copying files
to a removable storage media and basic scanning techniques will
also be covered.
NOTE: This workshop is free of charge; however, seating is limited
and participants must register in advance.
TINA FONG, computer artist. BA, Barnard College. Clients include:
Group Clarins Inc., siotas.com, New York Region of the Feldenkrais
Guild of North America, JBRH Advertising. Clients have included:
Young & Rubicam, Newsweek, abcnews.com, FeldenkraisHaus.ch,
Prudential Securities.
One night: Thurs., Sept. 8
6:30 pm–8:30 pm
Macintosh Basics
CORPORATE TRAINING
Are you considering a career change and wondering where
to begin? Are you interested in courses taught by professionals
in your new field of choice? Join our faculty for an evening of
fun and inspiration in our state-of-the-art facility. We will begin
with an overview of the Computer Art, Computer Animation
and Visual Effects Department, followed by demonstrations
that will highlight some of our course offerings. Participants are
encouraged to speak with our instructors about their work and
prospective courses.
NOTE: This information session will be held at 133/141 West 21st
Street, room 301C, 3rd floor. Seating is given on a first-come,
MODERATOR: JIMMY CALHOUN, director of operations,
BFA Computer Art, Computer Animation and Visual
Effects Department.
SWC-1012-B
Wed., Thurs.; Sept. 14– Sept. 15
2 sessions; free of charge
See SWC-1012-A for course description.
SUSIE HWANG, fine artist. BFA, New York University. Professional
experience includes: Animation editor, Little Airplane Productions,
Animation Collective. Television shows include: Wonder Pets!, Gary
the Rat, Little Bill.
toll-free tel. 877.242.7200 :: 39
COMPUTER ART
Computer art is often considered a creative discipline that is driven
by machines, not people, and by technicians, not artists. Nothing
could be further from the truth. Success in computer art demands
strength in concept, vision and craft, and there is an added technical
challenge. To succeed, one must keep pace with a changing set of
tools and be aware of the new creative possibilities that are presented
with each technical advance.
The Computer Art, Computer Animation and Visual Effects
Department at SVA provides the finest technical instruction available
in a broad range of applications. The faculty members are working
professionals with industry insight. Their creative expertise includes
digital design, imaging, digital video production, motion graphics,
compositing and computer animation. The applications they teach
include Adobe Creative Cloud Package (Photoshop, Illustrator,
InDesign, Flash, Dreamweaver, After Effects) and Autodesk Maya.
Our curriculum encompasses introductory to advanced courses
in page layout, image manipulation, web design, motion graphics and
compositing, as well as 3D modeling and animation for film and video.
Course schedules range from weekend workshops to full-semester
courses. Our goal is to provide you with the best instruction in the
most effective way for both your creative and professional needs.
Courses are listed by category: The Basics; Imaging, Design and Desktop
Publishing; Web Design and Development; Motion Graphics and
Visual Effects; Computer Animation.
COURSES ARE LISTED UNDER
THE FOLLOWING CATEGORIES:
Macintosh Basics
Alternatives to Adobe
SWC-1012-C
Sat., Oct. 8
Hours: 10:00 am–4:00 pm
MATTHEW MCKENNA, senior systems director, BFA Computer
Art, School of Visual Arts. BA, summa cum laude, Baldwin
Wallace University; M.Ed., Kent State University. Professional
experience includes: Educational technologist, digital media engineer,
Oberlin College; production support specialist, ideastream.
SDC-1016-B
Wed., Thurs.; Oct. 19–Oct. 20
2 sessiona; free of charge
See SDC-1016-A for course description and instructor.
Windows and PC Basics
SWC-1013-A
Sat., Sept. 17
Hours: 6:00 pm–10:00 pm
This workshop is for new computer users or Macintosh users who
want to learn more about the PC platform. The Windows operating
system will be introduced, including file management, network
operations, saving files, performance enhancements, and basic
system maintenance. Hardware upgrades and general system
troubleshooting will be discussed. Other topics to be covered
include Internet usage and file transfers. All topics will be covered
in hands-on exercises.
RICHARD A. HAGEN, visual artist, technology specialist. BA,
summa cum laude, MA, Long Island University. Clients include:
Digital Laundry, Borough of Manhattan Community College,
Marble and Granite Gallery, Jolt Productions, Downtown
Community Television Center. Exhibitions include: Brooklyn
Waterfront Artists Coalition, MetroCAF Animation Festival.
Alternatives to Adobe
SDC-1016-A
Sat., Sept. 24
Hours: 10:00 am–5:00 pm
Looking for the best alternatives to Adobe’s software for your
imaging application needs? This workshop will introduce free and
paid versions of software that provide similar functionality to
Adobe Photoshop, Illustrator, InDesign, Premiere, Flash and After
Effects. Students will have the opportunity to discuss strategies
on integrating the applications into existing workflows.
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Alternatives to Adobe Workshop
SWC-1016-A
Sat., Sun.; Nov. 5–Nov. 6
Hours: 10:00 am–5:00 pm
The increased number of professional digital design tools can
make it hard to determine the best options to use. This hands-on
workshop will introduce free and paid versions of software that
provide similar functionality to Adobe Photoshop, Illustrator,
InDesign, Premiere, Flash and After Effects. Using guided tutorials,
students will have the opportunity to use some of the popular
alternatives to Adobe and discuss strategies on integrating the
applications into existing workflows.
Data Management for Digital Artists
SWC-1028-A
Sat., Dec. 10
Hours: 10:00 am–5:00 pm
1 session; $120; materials fee, $225
This workshop will discuss the proper techniques for preserving
digital files. Topics include strategies for maintaining back-ups to
local hard drives and cloud services, file-naming conventions,
the use of metadata and converting files to maintain future
compatibility. Students will receive a Western Digital My Cloud
drive and learn how to install the drive and automate back-ups
using Macintosh OS X Time Machine.
PREREQUISITE: SWC-1012, Macintosh Basics, or equivalent.
Visible Futures Lab: Introduction to Arduino
SDC-1023-A
Sat., Sun.; Oct. 1–Oct. 2
Hours: 10:00 am–5:00 pm
2 sessions; $400; materials fee, $300
Students will learn how to build an entry-level graphics workstation
from individual components, as well as install the operating system
and trial editions of software. During the build, the class will also
learn how to troubleshoot and fix various hardware and software
errors. We will explore what the components do, how they relate
to a digital content creation workflow and what to look for in
making purchase decisions. Students will leave the course with
a working computer they can take home with Linux installed.
PREREQUISITE: SWC-1013, Windows and PC Basics, or SWC-1012,
Macintosh Basics, or equivalent.
VLC-2572-A
$300; lab fee, $150
This course will provide a hands-on introduction to programming
and electronics using the Arduino development platform. We will
focus on developing a rigorous foundational understanding of
coding logic and circuitry in order to achieve complex results with
relatively basic circuits. This knowledge can then be applied to
develop, from scratch, reactive or interactive systems that
incorporate different sensors (force, motion, vibration, light) and
actuators (motion, light, sound) within one’s context of choice.
NOTE: Students are required to provide their own laptops with
Arduino software installed. No prior knowledge of electricity or
programming is necessary. Sessions are held in the Visible Futures
Lab, a state-of-the-art rapid prototyping facility. The lab fee includes:
Arduino starter kit (Arduino board, USB cable, breadboard, LEDs,
buttons, motor, servo and basic sensors), use of soldering irons,
electronics tools and consumables. All other materials must be
purchased by the student.
BORIS KLOMPUS, lab manager, Visible Futures Lab, School of
Visual Arts. Professional experience includes: Robotics technician,
LEMUR (League of Electronic Musical Urban Robots); robotics
technician, interface developer, Pat Metheny Orchestrion tour;
sound engineer, “Sunken Cathedral" Bora Yoon. Projects include:
“Chariot Races,” “The Wheel,” “Jet Ponies,” Madagascar Institute.
Arduino Workshop
SWC-1025-A
Wed., Thurs.; Oct. 8–Oct. 9
Hours: 10:00 am–5:00 pm
2 sessions; $400; materials fee, $50
Learn how to create interactive projects with Arduino, the opensource micro-controller platform. This course is for those with
no knowledge of physical computing or electronics. You will be
guided through the understanding of basic electronics, breadboard
prototyping and simple Arduino programming. Students will be
shown how to create simple projects with the Arduino that
include light and sound.
JOSEPH MULVANERTY, cross-platform systems administrator,
BFA Computer Art, Computer Animation and Visual Effects
Department, School of Visual Arts. Professional experience
includes: Director of technology, Mechanism Digital; DV systems
engineer, Creative Alliance Group; junior graphic designer, Turtle
Beach. Clients have included: Showtime, HBO, MSNBC, History
Channel. Film credits include: Loveship Hateship, Love is Strange,
Still Alice.
Visible Futures Lab: Introduction to Arduino
VLC-2572-B
Thurs., Nov. 3–Dec. 15
$300; lab fee, $150
See VLC-2572-A for course description and instructor.
READY TO REGISTER?
Details on page 4
toll-free tel. 877.242.7200 :: 41
COMPUTER ART
Build Your Own PC
IMAGING, DESIGN AND DESKTOP
PUBLISHING COURSES
Desktop publishing is the process of designing the layout of text and
images for print publications such as flyers, brochures, business cards,
newsletters and greeting cards. To be a successful desktop publisher,
you need to master design programs, file management, editing and
design, and the rules of printing.
Students have exclusive use of a computer during scheduled class
hours. Lab time is included in the instructional hours; additional lab
time is not available.
The Macintosh operating system will be used unless otherwise
indicated in the course description.
Digital Design Basics
SMC-1031-A
Hours: 6:00 pm–10:00 pm
The computer has become an essential creative tool in illustration,
graphic design, photography, multimedia, animation and fine art.
In this course, students will learn how to use Adobe Photoshop
and Illustrator to create art for print and the web. A range of
topics will be covered, including basic computer functions, scanning
and design techniques. We will also discuss the similarities and differences of digital and traditional image-making. We will explore
how the computer is used in professional studios, and how you
can use it in your creative and professional pursuits. Students will
participate in class critiques and workshop time.
MARY J. BELTHOFF, graphic designer, corporate trainer. BS,
Bowling Green State University. Professional experience includes:
Senior graphic designer, doubleclick first, LLC. Clients include:
The Metropolitan Museum of Art, Novartis, L’Oréal, Ogilvy
CommonHealth Worldwide, Kerwin Communications, Horizon
Blue Cross Blue Shield, Bed Bath & Beyond, Cadbury Adams.
SMC-1031-CE
Hours: 6:00 pm–10:00 pm
See SMC-1031-A for course description.
refer to SMD-1031-CE in the credit courses section of this
LISA LORDI, graphic designer. BA, Pace University. Clients include:
Ogilvy Interactive, Hachette Filipacchi, American Express, BSMG
Worldwide, MasterCard, A&E, Barnes & Noble.
JOIN US ON FACEBOOK
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Photoshop: An Introduction
SMC-2208-A
This course will provide artists of all backgrounds with a working
knowledge of Adobe Photoshop. We will begin by building a
foundation of solid selection techniques and how to create and
manipulate layers. Students will then be introduced to Photoshop’s
tools such as the clone stamp, healing brush, text and the color
replacement tool. Simple masks, the color channels and the image
adjustment menu will all be used to introduce retouching and color
correction. Filters, effects, image size and proper file management
will also be discussed.
Photoshop: Basic
SMC-2221-A
Hours: 6:00 pm–10:00 pm
Photoshop is the premier image-editing program used by graphic
designers, web designers, fine artists, photographers and special
effects professionals. This course will introduce the tools available
in Adobe Photoshop such as the healing brush, photo filter,
shadow/highlight, Photomerge and the color replacement tool.
Students will learn how to apply advanced layer modes and effects
for new looks. Topics include: using channels to solve production
issues, mastering the art of making perfect selections with quick
masks and paths, working with history and extract functions.
CHRISTOPHER McCORMACK, principal, McCormack Inc.
BFA, School of Visual Arts. Clients include: Grey Healthcare Group,
HarperCollins, CNBC, Ralph Lauren, Ogilvy & Mather, The New
York Times, MTA, TracyLocke, USA Networks, HBO, Sony, Gap
Inc., ABC, Deutsch Inc., Jergens, McCann-Erickson. Author:
Photoshop CS2 Path Essentials.
Photoshop: Basic Workshop
SWC-2221-A
Sat., Sun.; Sept. 24–Sept. 25
Hours: 10:00 am–5:00 pm
This workshop offers a practical overview of Adobe Photoshop
to provide students with a working knowledge of the application.
We will cover creation of layers, filters and effects, and file
management. An introduction to tools and effects such as the
healing brush and Photomerge will also be covered.
Photoshop: Professional Techniques
SWC-2221-B
Hours: 10:00 am–5:00 pm
See SWC-2221-A for course description and instructor.
SMC-3221-A
Hours: 6:00 pm–10:00 pm
No matter how long you have worked with Photoshop, there is
always more to learn. This course will focus on the professional
production techniques Adobe Photoshop uses to achieve the most
effective visual results in the creative style you have developed.
Techniques to be covered include professional color correction and
color management; seamless compositing and advanced layering
techniques; portrait retouching; tool and palette customization,
and creative special effects for print, screen and the web.
PREREQUISITE: SMC-2221, Photoshop: Basic, or equivalent.
NOTE: Please bring digital files and projects to work on to the
first session.
Photoshop: Intermediate—Taking It to the Next Level
SMC-2209-A
This course will build upon the skills covered in SMC-2208,
Photoshop: An Introduction, to advance each student’s knowledge
of the application. A review of the basics will be followed by an
exploration of adjustment layers, layer masks, paths, vector masks
and color correction. Topics will include complex compositing, mastering image retouching, refining masks and perfecting selections.
PREREQUISITE: SMC-2208, Photoshop: An Introduction,
or equivalent.
Photoshop: Intermediate Workshop
SWC-2526-A
Hours: 10:00 am–5:00 pm
This workshop will build upon the basic skills of Adobe Photoshop
to advance students’ knowledge of the application. A review of the
basics will be followed by topics that include adjustment layers,
layer masks, paths and color correction. Compositing and image
retouching will be introduced.
PREREQUISITE: SWC-2221, Photoshop: Basic Workshop,
or equivalent.
Photoshop: Intermediate Workshop
SWC-2526-B
Hours: 10:00 am–5:00 pm
Photoshop: Professional Workshop
SWC-3221-A
Hours: 10:00 am–5:00 pm
Advanced production techniques will be emphasized in this workshop,
from photo retouching and advanced layering techniques to creating
photorealistic composites. Using Adobe Photoshop, students will
learn to prepare files for web and press output. Topics include the
advanced history palette, enhanced color management and color
correction, image compositing and high-quality output processes.
PREREQUISITE: SWC-2526, Photoshop: Intermediate Workshop,
or equivalent.
Photoshop: Professional Workshop
SWC-3221-B
Hours: 10:00 am–5:00 pm
toll-free tel. 877.242.7200 :: 43
COMPUTER ART
Photoshop: Basic Workshop
Beauty Retouching Workshop
SWC-2331-A
Hours: 10:00 am–5:00 pm
The artistic and business aspects of professional beauty retouching
will be addressed in this course. We will cover retouching techniques
that include maintaining skin texture, enhancing make-up and
improving body contours that are used to make the beautiful look
perfect. Additionally, the course will address working with clients,
negotiating the “redo” and submitting final files.
CARRIE BEENE, owner, principal retoucher, CarrieNYC. BFA,
Kansas City Art Institute. Clients include: Chantecaille, Deva, MAC
Cosmetics, Biomega, Elizabeth Arden. Author: Real Retouching: A
Professional Step-by-Step Guide. Publications include: Harper’s Bazaar,
Sports Illustrated, Cosmopolitan, Marie Claire, Shape, Elle, Glamour,
Vogue, The New York Times, V magazine, Vanity Fair, I.D., Allure,
Arena. The instructor’s work can be viewed at: carrienyc.com.
Beauty Retouching:
Professional Techniques Workshop
SWC-2334-A
Hours: 10:00 am–5:00 pm
Creating an advertising image begins with multiple retouching
decisions, and ends with a single image ready for publication. In
this course, we will review this process using basic retouching skills
as well as new techniques. Students will compose multiple image
files, perform beauty retouches, create a convincing silhouette,
add various effects and properly match product colors. The end
result will be a client-ready deliverable file.
PREREQUISITE: SWC-2331, Beauty Retouching Workshop,
or equivalent.
Illustrator: Basic
SMC-2231-A
Hours: 6:00 pm–10:00 pm
Adobe Illustrator is a vector-based application that is widely
used in illustration, technical drawing, animation, special effects
and motion graphics. Through hands-on exercises, this course
will reveal the creative capabilities of Illustrator. Precise control
of Bézier curves, use of color and gradients, dynamic type and
3D effects will be discussed in detail. Students will gain a working
knowledge of Illustrator, including how it interacts with the rest
of the Adobe Suite.
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Illustrator: Basic Workshop
SWC-2231-A
Hours: 10:00 am–5:00 pm
This workshop will explore Adobe Illustrator through hands-on
exercises. Precise control of Bézier curves, use of color and gradients,
dynamic type, warping, masking and special effects will be discussed
in detail. Students will gain a working knowledge of Illustrator,
including how it interacts with the rest of the Adobe Suite.
BENJAMIN BOBKOFF, designer. BFA, Cornell University; MPS,
School of Visual Arts. Clients include: Brownstone Studio, Citibank,
David Sirieix Advertising, Andersen Consulting, Ernst & Young,
KPMG Peat Marwick.
Illustrator: Basic Workshop
SWC-2231-B
Hours: 10:00 am–5:00 pm
Illustrator for Fashion Designers Workshop
SWC-2229-A
Hours: 10:00 am–5:00 pm
This workshop will focus on the techniques and functions of
Adobe Illustrator that are most useful in the fashion industry.
Students will become familiar with the user interface, tools and
keyboard shortcuts. Importing images as templates, using the pen
tools to draw flats over croquis and drawing garment details such
as seams, stitches, pockets and color blocks will be covered. How
to create custom textures, patterns, brushes, graphic styles, clipping
masks, compound paths and sandblasting effects will be covered.
We will also discuss how to streamline workflow using layered
documents, customized symbol and pattern libraries, and saving
and sharing files.
KPMG Peat Marwick.
InDesign: Basic
SMC-3231-A
Hours: 6:00 pm–10:00 pm
This course will build upon basic Illustrator skills and advance each
student’s ability to create industry standard vector graphic images.
Students will work on projects such as magazine covers, editorial
graphics, technical illustration, package design, logo and branding
development, custom type design and 3D illustration. While creating these works, we will discuss advanced masking, custom graphic
styles, brushes, symbols and patterns. Scanned images will be used
to produce professional illustrations and web graphics, and we will
also explore 3D effects, advanced color and blending techniques.
PREREQUISITE: SMC-2231, Illustrator: Basic, or equivalent.
SMC-2271-A
Hours: 6:00 pm–10:00 pm
Adobe InDesign is a premier multi-document layout and design
program used for cross-media publishing. It has set standards
with its type and table controls, editable transparency effects,
layers, crash protection and integration with Adobe Photoshop
and Illustrator files. InDesign is useful for creating projects for
print, the web, tablets and phones. Students will create grid systems, a two-to four-page spread, brochures, newsletters, business
cards, advertising and promotion materials for print and other
media. Importing and exporting of files, professional type and
production techniques will be covered.
PREREQUISITE: SMC-1031, Digital Design Basics, or equivalent.
Illustrator: Professional Workshop
SWC-3231-A
Hours: 10:00 am–5:00 pm
Learn how to use transparency, opacity masks, graphic styles, brush
effects, symbols, custom patterns, gradient mesh and scanned
images to produce professional-level illustrations and web graphics
with Adobe Illustrator. Advanced color, 3D effects, type effects
and blending techniques to create isometric views for developing
logos, icons, technical drawings and architectural renderings will
be discussed.
PREREQUISITE: SWC-2231, Illustrator: Basic Workshop,
or equivalent.
KPMG Peat Marwick.
Illustrator: Professional Workshop
SWC-3231-B
Hours: 10:00 am–5:00 pm
InDesign: Basic Workshop
SWC-2271-A
Hours: 10:00 am–5:00 pm
This workshop will examine the basic type, design and production
features of Adobe InDesign. How to execute your graphic design
projects will be explored through working with layout, type, drawing,
graphics handling and color capabilities. Time-saving tools, such as
style sheets and master pages, will be outlined. We will also discuss
how to prepare files for print and interactive presentations.
PREREQUISITE: SWC-2221, Photoshop: Basic Workshop, or
SWC-2231, Illustrator: Basic Workshop, or equivalent.
SWC-2271-B
Hours: 10:00 am–5:00 pm
SWC-2271-C
Hours: 10:00 am–5:00 pm
toll-free tel. 877.242.7200 :: 45
COMPUTER ART
Illustrator: Professional Techniques
InDesign: Multimedia Projects Workshop
WEB DESIGN AND DEVELOPMENT COURSES
SWC-2274-A
Hours: 10:00 am–5:00 pm
Adobe InDesign has been used for years as a tool for print
production. Today it is so much more. Learn how to make PDF
files, electronic books and interactive portfolios suitable for the
iPhone, iPad and other mobile platforms. Output for commercial
printing will also be discussed. Topics will include master pages,
style sheets, digital image management and other digital production techniques that help with design and automation. Projects
may include brochures, newsletters, e-books, portfolios and
identity systems.
PREREQUISITE: SWC-2271, InDesign: Basic Workshop, or equivalent.
KPMG Peat Marwick.
Great web design is effective, efficient and memorable. Beginning
web designers can gain a foundation in the design and language of
the Internet, including HTML, XML, JavaScript, animation in Flash
and basic and advanced ActionScript with Flash. If you are experienced in elements of web design but would like to learn new skills
or the most current programs, please take a look at our individual
course offerings to find the course that best fits your needs.
time is not available. The Macintosh operating system will be used
unless otherwise indicated in the course description.
PDC-2526-A
Book Show.
READY TO REGISTER?
Details on page 4
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Coding: HTML and CSS—Basic
SMC-2422-A
Hours: 6:00 pm–10:00 pm
In this hands-on course, students will write HTML and CSS,
and learn how to format text, incorporate images, build tables,
create links and host and upload a website. Students will design
and implement their own websites and participate in design
discussions and critiques.
PREREQUISITE: SWC-1012, Macintosh Basics, or equivalent. It is
strongly recommended that students be familiar with browsing
the web.
DANIEL HAHN, web developer, Grey Interactive. BA, Marist
College. Clients include: Pringles, M&M’s, 3 Musketeers, Advil,
Cover Girl, Twix, Pantene, Skittles, Gerber, Caltrate, Robitussin.
Coding: HTML and CSS—Continued Techniques
SMC-2429-A
Hours: 6:00 pm–10:00 pm
This course will cover advanced topics of working with HTML and
CSS, adding complicated design by creating complex table-free sites
and utilizing basic JavaScript. Students will create sites with multiple
users accessing common files. Participation in discussions and critiques will help inform the work made in this course.
PREREQUISITE: SMC-2422, Coding: HTML and CSS—Basic,
or equivalent.
DANIEL HAHN, web developer, Grey Interactive. BA, Marist
College. Clients include: Pringles, M&M’s, 3 Musketeers, Advil,
Cover Girl, Twix, Pantene, Skittles, Gerber, Caltrate, Robitussin.
Coding: Sass and Compass Workshop
SWC-2421-A
Hours: 10:00 am–5:00 pm
This workshop will introduce students to authoring on the web
with the basics of hypertext markup language (HTML). Topics will
include how to incorporate images, format text, build lists, create
hot links, build tables and use type effectively.
PREREQUISITE: SWC-1012, Macintosh Basics, or equivalent. It is
strongly recommended that students be familiar with browsing
the web.
NATE COOPER, writer, Mashable; consultant. BA, University of
California, Santa Cruz. Professional experience includes: Principal,
Pedestrian Consulting; co-founder, community manager, Reboot
Nation. Clients have included: Gap Inc., General Assembly, NBC
Universal. Author: Why You Should Be Blogging. Publications
include: Mashable, Forbes. The instructor’s work can be viewed
at: natecooper.com.
SWC-3442-A
Hours: 10:00 am–5:00 pm
Are you interested in writing CSS faster and more efficiently?
You can with Sass, a CSS processor, which promises to “make
CSS fun again.” This workshop will explore the properties of Sass,
how to utilize the power of variables, mixins and functions in your
CSS, and still have it work in all web browsers. Topics will include
nesting, extends, color functions, media queries and import and
output formats. Additionally, the course will cover the most common framework for Sass called Compass, which will allow you to
be even more productive with its CSS3 support and advanced
image spriting capabilities.
PREREQUISITE: SMC-2429, Coding: HTML and CSS—Continued
Techniques, or equivalent.
ERIC HASELTINE, technical director, The Chopping Block, Inc.
BS, Cornell University. Clients include: Adobe, Scholastic, National
Constitution Center.
Coding: HTML—Intermediate Workshop
SWC-3427-A
Hours: 10:00 am–5:00 pm
While the basics of HTML are relatively simple, there is a great
deal of programming skill involved in creating a unique and
dynamic website. Building upon material covered in SWC-2421,
HTML I Workshop, this course will address more advanced HTML
techniques. Topics will include HTML forms, an introduction to
CSS and basic JavaScript. This course will review how modern
web pages work and how to create them using HTML and CSS.
PREREQUISITE: SWC-2421, Coding: HTML—Basic Workshop,
or equivalent.
at: natecooper.com.
Coding: JavaScript, HTML5, CSS3
and jQuery—Getting Started
Coding: CSS Workshop
Coding: JavaScript, HTML5, CSS3
and jQuery—Professional Techniques
SWC-3428-A
Hours: 10:00 am–5:00 pm
This workshop will use HTML as a foundation to add more
complicated design through Cascading Style Sheets (CSS). We will
cover the basics of CSS and look at how to create complex tablefree sites. We will also discuss how CSS is used in the management
of large sites with multiple users accessing common files.
PREREQUISITE: SWC-3427, Coding: HTML—Intermediate Workshop,
or equivalent.
at: natecooper.com.
SMC-2527-A
Hours: 6:00 pm–10:00 pm
Learn to use the web browser-based language JavaScript to create
websites that interact immediately with users. This course will
cover how to use the Document Object Model (DOM) to dynamically change pieces of HTML codes, create image slideshows and
perform other useful tasks. We will use HTML5 and CSS3 in conjunction with JavaScript to create modern interfaces. AJAX will
be introduced for creating quick, data-rich interactions, and we
will cover integrating JavaScript libraries such as jQuery to write
cross-browser code quickly and easily.
PREREQUISITE: SMC-2429, Coding: HTML and CSS—Continued
Techniques, or equivalent.
SMC-2528-A
Hours: 6:00 pm–10:00 pm
In this course, we will take JavaScript to the next level. Our focus
will be organizing larger projects using JavaScript patterns and
object-oriented programming. We’ll look deeper at popular
JavaScript libraries like jQuery and Raphael, and explore how
to extend these libraries by writing plug-ins and extensions. We’ll
build medium-size web apps that make use of HTML5 and CSS3.
Finally, we will discuss targeting applications for different platforms,
including the iPhone and the iPad. Through repetition and in-class
toll-free tel. 877.242.7200 :: 47
COMPUTER ART
Coding: HTML—Basic Workshop
exercises, students will investigate different programming techniques
to find solutions to real-world problems.
PREREQUISITE: SMC-2527, Coding: JavaScript, HTML5, CSS3 and
jQuery—Getting Started, or equivalent.
WordPress: Basic Workshop
SWC-3331-A
Hours: 10:00 am–5:00 pm
In this course we will discuss the basics of the WordPress interface.
Students will create accounts and edit their profiles. We will
review the process for installing WordPress, setting up a site and
creating a workflow for updating and blogging with ease. We will
also explore basic customizations of the site’s appearance by using
themes, plugins and additional pages. The difference between
wordpress.com and wordpress.org will be discussed, and we will
review how to prepare assets for blog posts. This workshop will
help newbies get their new WordPress site up and running.
MARISSA LERER, web developer, musician. BS, MA, New York
University. Professional experience includes: Web developer,
BBDO; The Chopping Block, Inc; MTV. Clients include: Clinique,
Atmosphere, Comedy Central, Country Music Television, lisaloeb.
com, TBS. Award: Pixel Award. The instructor’s work can be
viewed at: crayonboxdesigns.net.
WordPress: Building an Online Portfolio
SMC-3332-A
Hours: 6:00 pm–10:00 pm
This course will explore the fundamentals of building a beautiful
and dynamic portfolio using WordPress to showcase your work.
We will examine the basic tenets of building a website, such as
hosting, writing basic HTML and CSS, and setting up a WordPress
account and site. We will review the best portfolio themes and
plug-ins to make your site look great, and discuss how to make it
easily manageable with minimal coding. By the end of the course
you will have a working portfolio site for promoting your work.
at: natecooper.com.
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WordPress: Digital Portfolio Workshop
SWC-3332-A
Hours: 10:00 am–5:00 pm
Using WordPress to organize your visual portfolio and build an
online presence will be the focus of this workshop. WordPress
makes it easy for anyone with basic computer skills to create a
professional portfolio without coding or using expensive software.
See how to choose ready-made theme templates and plug-ins to
build and promote a showcase for your work.
at: natecooper.com.
Wix Online Portfolio Workshop
SWC-3322-A
Hours: 10:00 am–5:00 pm
If you’ve been thinking about getting your portfolio online and
can’t seem to find the time or the right tool to do so, this workshop
will help you to finally get your work online and make it look
amazing with the easy-to-use, code-free website builder Wix.com.
After signing up for a free account, students will view examples
of work created with Wix. Fully customizable HTML5 templates
will be explored, and we will discuss how to choose the one that
works best for the site being created. Topics include how to
upload photos and videos using the drag-and-drop website builder,
how to incorporate different apps and create photo galleries, and
the steps to connect your domain name.
ARIELE KRANTZOW, U.S. outreach manager, Wix. BFA, The New
School. Professional experience includes: Support bar coordinator,
office/co-working manager, Wix. This instructor’s work can be
viewed at: arielekrantzow.com.
Coding: CSS with Dreamweaver Workshop
SWC-3333-A
Hours: 10:00 am–5:00 pm
Transitioning your graphic design and traditional applied art skills
to the development of WordPress themes is a smart evolution
of your skill set. In this course we will discuss that process, from
domain registration and setting up a basic website to the installation
and customization of WordPress themes. We will explore the
use of HTML and CSS and the basics of front-end development.
Tangible skills for building professional sites using industry standard
technologies will be included.
at: natecooper.com.
SWC-3437-A
Hours: 10:00 am–5:00 pm
Cascading style sheets (CSS) can advance the look, ease of use
and updating of HTML documents in Adobe Dreamweaver. In this
course, students will learn how to style everything from text to tables
and images. Entire pages will be created relying mainly on CSS. We
will begin with basic properties, such as understanding the difference
between class, tag and ID styles, and how to apply them. Use of
positioned div elements will be shown to move and change the
look of “container” objects on multiple HTML pages. Internally
and externally saved style sheets will be examined, and advanced
options that include using descendent selectors, pseudo classes
and styling groups will be explored. The Dreamweaver Spry menu
option will also be shown.
PREREQUISITE: SMC-2428, Dreamweaver: Intensive, or equivalent.
SHARON FLEISCHMANN AQUAVITA, fine artist, web/print
designer, corporate trainer. BFA, MFA, School of Visual Arts.
Clients include: Evergreen Media; Home Aid, Inc.; Home Box
Office; The New York Times; Jehan Kamal Enterprises; Leapfrog;
Manhattan Marketing; New York Post; Kids Cuts, Inc.; New York
Typographical Union; Sony; WNEW-FM.
Dreamweaver: Intensive
SMC-2428-A
Hours: 10:00 am–5:00 pm
Adobe Dreamweaver is a sophisticated web editor that reduces
the need for writing code by creating basic HTML, JavaScript and
cascading style sheets (CSS) code with its drag-and-drop features.
Students will begin by exploring how to use web-safe colors for
creating banners and buttons and how to properly save images
for web use in Adobe Photoshop. Text editing, image insertion
and manipulation will be covered and followed by the use of
tables, AP elements and iFrames to control placement of elements
and links on pages. During the second weekend, we will address
other elements to make an easily manageable and sophisticated
site, including how to slice images and make animated GIFs in
Photoshop for use in Dreamweaver. Server Side Includes, CSS,
JavaScript behaviors and timelines will be explored, and the site
will be uploaded to a server using Dreamweaver’s extensive
FTP function.
Muse: Basic
SMC-2426-A
Adobe Muse is the perfect answer for designers who want to
create websites without having to know a stitch of code. Muse
employs simple drag-and-drop container boxes to create layouts
with text, images and interactive elements that will make creating
a professional website feel familiar to print designers. The goal
of this course is for each student to complete a finished, working website from the sitemap planning stage to the live upload.
Students will create master pages with elements such as navigation
bars, background colors and images that can be used to make
universal changes to the entire website through the Muse Plan
menu. We will cover how to place images directly from Adobe
Photoshop and Illustrator and explore the seamless implementation of Adobe Typekit web fonts. Students will also create editable
links, slideshows and widgets. These can be simply managed, and
Google Maps and contact forms may be added. The option of
making a site responsive to Internet media, such as a phone and
tablet will also be addressed.
toll-free tel. 877.242.7200 :: 49
COMPUTER ART
WordPress: From Designer to WordPress Developer
Muse: Workshop
Blogging as Branding Workshop
SWC-2426-A
Hours: 10:00 am–5:00 pm
Are you a designer looking for a professional option of creating
websites without using code? Adobe Muse employs simple dragand-drop container boxes to create layouts with text, images and
interactive elements that will make creating a professional website
feel familiar to print designers. Students will create master pages,
with elements such as navigation bars, background colors and
images, which can then be incorporated into multiple pages. How
to place images directly from Photoshop and Illustrator and the
seamless implementation of Adobe Typekit web fonts will be
covered. Topics will include creating editable links, slideshows and
widgets, and uploading completed sites with ease. Finally, we will
discuss using the option of making a site responsive, so that it
looks and works wonderfully on different Internet media, such as
a phone and tablet.
PREREQUISITE: SWC-2271, InDesign: Basic Workshop, or equivalent.
SWC-2431-A
Hours: 10:00 am–5:00 pm
Building an online presence is crucial for establishing credibility.
This workshop will examine the ways in which blogging platforms
help to build upon and grow an online identity and personal or
professional brand. We will view examples of successful professional bloggers, learn how to use popular blogging platforms like
WordPress and Tumblr, and create a plan of action for consistent
professional blogging and social media production. Creating a
content strategy, optimizing your content for search and lead
generation, and effectively communicating online via social media
and blogging will be discussed.
at: natecooper.com.
Branding and Creating an Online Presence
SMC-2432-A
Defining a personal brand will help put your best digital self in
front of potential clients and employers. This course will look at
what it takes to establish an online presence by building a website
and blog, and using social media. We will look at popular platforms
like WordPress, Twitter, Pinterest and LinkedIn to understand
their strengths and weaknesses. By the end of the course you will
have a customized brand and marketing plan that will help guide
you toward your goals.
Nation. Clients have included: Gap Inc, General Assembly, NBC
at: natecooper.com.
Website Architecture for Non-Technical
Creatives Workshop
SDC-2825-A
Sat., Dec. 3
Hours: 10:00 am–5:00 pm
1 session; $120
The web is rapidly dominating almost every creative field, and a
basic literacy of technical concepts is essential to finding a job or
working on your own projects. In this workshop, you will learn
the basic concepts behind the web, including hosting, front end,
and back-end coding. We will discuss scripting languages, markup
languages, design practices and the best architectural practices for
information. We will discuss different approaches to learning web
design on your own, as well as ways to recruit technical talent and
how to communicate about the technology with them.
at: natecooper.com.
JOIN US ON FACEBOOK
facebook.com/SVACE
50 :: sva.edu / ce
Information Architecture and Design:
Basic Workshop
ONLINE COURSE
SDC-2827-A
Sat., Oct. 8
Hours: 10:00 am–5:00 pm
1 session; $120
This workshop will give an overview of information architecture
and interaction design. Core theories and techniques such as card
sorting, hierarchies, page layouts, prototypes and user research will
be discussed and practiced through lectures, discussions and group
projects. The goal of the workshop is to help students to think in
logical and creative ways in order to display large amounts of
information that are delightful, intuitive and effective for users.
ROBERT STRIBLEY, senior information architect, Razorfish.
BA, M.Ed., Bob Jones University. Clients include: Wachovia, Bank
of America, Smith Barney, Travel Channel, Ford.
SDC-2827-B
Sat., Dec. 10
Hours: 10:00 am–5:00 pm
1 session; $120
See SDC-2827-A for course description and instructor.
Interaction Design and Strategy: Basic Workshop
SDC-2829-A
Sat., Nov. 19
Hours: 10:00 am–5:00 pm
1 session; $120
This workshop will focus on practical ways to develop smart design
strategies for web and mobile devices. We will discuss core theories, case studies and the practice of designing user experiences
for web and mobile devices. Through collaborative exercises
and lightweight, interactive prototypes, we will practice creating
information architecture, content strategy and interface design
for various platforms that include websites, mobile phones and
computer tablets.
PREREQUISITE: SDC-2827, Information Architecture and Design:
Basic Workshop, or equivalent.
ROBERT STRIBLEY, senior information architect, Razorfish.
BA, M.Ed., Bob Jones University. Clients include: Wachovia, Bank
of America, Smith Barney, Travel Channel, Ford.
OLC-1411-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
toll-free tel. 877.242.7200 :: 51
COMPUTER ART
Interaction Design and Strategy: Basic Workshop
Coding for Artists:
MOTION GRAPHICS AND VISUAL EFFECTS COURSES
After Effects: Basic
Artists who work in motion graphics and compositing for broadcast media
are responsible for adding movement to design and bringing together film
footage, effects and animation. You can learn the basics of motion
graphics and compositing with Adobe After Effects.
time is not available.
The Macintosh operating system will be used unless otherwise
indicated in the course description.
SMC-3621-B
Hours: 6:00 pm–10:00 pm
See SMC-3621-A for course description and instructor.
Visual Effects Coordinator Boot Camp
SDC-1210-A
Hours: 10:00 am–5:00 pm
Learn the challenges of a visual effects coordinator and production manager. This course will guide you through a visual effects
project from pitch to postproduction from the perspective of
a VFX coordinator. Concepts to be explored include: breakdown
and budgeting, preproduction preparation, production workflow,
equipment and tech, editorial and postproduction. The course
is designed for people working in-house or freelance on VFX or
CG animation projects.
JOSEPH MULVANERTY, cross-platform systems administrator,
BFA Computer Art, Computer Animation and Visual Effects
Department, School of Visual Arts. Professional experience
includes: Director of technology, Mechanism Digital; DV systems
engineer, Creative Alliance Group; junior graphic designer, Turtle
Beach. Clients have included: Showtime, HBO, MSNBC, History
Channel. Film credits include: Loveship Hateship, Love is Strange,
Still Alice.
After Effects: Basic
SMC-3621-A
Hours: 6:00 pm–10:00 pm
From Hollywood to your home, Adobe After Effects is changing
the way we look at things. The program’s 2D and 3D compositing,
animation and visual effects tools allow users to create innovative
graphics and visual effects for film, video, broadcast, DVD and the
web. Using After Effects, students will learn the concepts of video,
time-based animation and special effects. We will explore program
features that include keyframing, editing, masking, type, 3D
environment and tools. Importing media from a wide variety of
applications, including Adobe Photoshop and QuickTime files will
also be covered.
ADAM MEYERS, producer. AD, Full Sail University. Clients have
included: Saturday Night Live, MTV, Bravo, Nickelodeon. Group
exhibitions include: Pegasus Galleries, Next Gallery, Maxwell
Gallery, Park Galleries.
52 :: sva.edu / ce
After Effects Workshop
SWC-3621-A
Hours: 10:00 am–5:00 pm
This workshop will introduce students to Adobe After Effects, one
of the most popular and precise digital compositing, 2D animation
and motion graphics tools used in broadcast design, video and film
production. Students will learn basic compositing using layers, the
creation and animation of text as well as keyframe-based effects.
Importing media from a wide variety of applications, including
Adobe Photoshop and Apple Final Cut Pro will also be covered.
PREREQUISITE: SWC-2221, Photoshop: Basic Workshop, or equivalent.
A working knowledge of Final Cut Pro is recommended.
After Effects: Professional
SMC-3631-A
Hours: 6:00 pm–10:00 pm
After a review of basic Adobe After Effects tools, this course
will explore some of these tools in depth, including masking and
rendering. We will then move on to more advanced topics that can
add exciting and creative effects to your motion graphics and visual
effects projects, including 3D layers, animation techniques, video,
tracking and stabilizing, rotoscoping and paint tools.
PREREQUISITES: SMC-3621, After Effects: Basic, or equivalent.
ERIC REINFELD, digital artist, animator, Digital Design. AAS,
Sullivan County Community College. Clients include: HBO,
MVBMS, Business Week, Time, Klemtner. Co-author: Real World
After Effects.
Video Compression Workshop
SWC-3651-A
Sat., Oct. 22
Hours: 10:00 am–5:00 pm
1 session; $140
This course will discuss proper compression techniques for multiple
outputs. Whether your video’s final destination is the Internet, a
computer file, television broadcast, DVD or other forms, there is
a compression that is right for you. Topics will include alpha channels, data rates and quality control. This course will cover the
export functions of Adobe After Effects, Apple Final Cut Pro and
QuickTime Pro.
PREREQUISITE: SWC-3621, After Effects Workshop, or a working
knowledge of Final Cut Pro, or equivalent. Students should have
a basic understanding of video editing.
CINEMA 4D and After Effects Integration
COMPUTER ANIMATION COURSES
SMC-3654-A
Hours: 6:00 pm–10:00 pm
The Cineware Module allows users to integrate Maxon’s CINEMA
4D scenes into Adobe After Effects projects seamlessly, giving
artists a 3D pipeline between the two programs. In this course
students will become familiar with the Cineware Module plug-in,
and how to take advantage of using CINEMA 4D’s workflow as
assets within their After Effects files. Topics will include animating,
texture mapping, scene building, lighting, cameras and basic
3D modeling.
PREREQUISITE: SWC-3621, After Effects Workshop, or equivalent.
Perhaps you are a traditional animator with a desire to translate your
skills into a 3D environment, or maybe you are a storyteller with
a great idea for an animated film. Our courses in 3D animation
will introduce you to Autodesk Maya and the techniques you can use
to bring your ideas to life.
hours. Lab time is integrated as part of the instructional hours; additional
The Windows operating system and PC computers will be used
unless otherwise indicated in the course description.
VLC-2551-A
Fri., Sept. 23–Oct. 28
6 sessions; 1.5 CEU; $300
Rhino is a cutting-edge software program that is used in architecture
and engineering, as well as product and jewelry design industries
for 3D modeling objects using NURBS surfaces. Rhino provides
all the tools needed to accurately model and document your
designs for CAD drawings, renderings, laser cutting, 3D printing,
prototyping, CNC milling, and other manufacturing processes.
This course will introduce and explore many of the common tools
used in Rhino, with an emphasis on best practices. Through a
series of lectures and tutorials, students will gain a firm command
of these fundamental tools and be able to translate their ideas
into computer models, physical prototypes and products.
NOTE: Students are required to provide their own laptops
with McNeel’s Rhino software installed. Free demo versions
for the duration of the course are available for both Mac and
PC platforms.
JOHN THOMAS HEIDA, director, Visible Futures Lab, School of
Visual Arts; principal, John Heida Studio. Professional experience
includes: Architectural designer for Arnell Group; Graftworks; Pfau
Long Architecture, Ltd. Group exhibition: MoMA/PS1. Publications
include: Popular Mechanics, Shopbot. Awards and honors include:
Taconic Fellowship, Connecticut Chapter of Associated Builders
and Contractors, County of Alameda Public Works. The instructor’s
work can be viewed at: jtheida.wix.com/john-t-heida.
Visible Futures Lab: Rhino Software Intensive
for Beginners
VLC-2551-B
Maya: Basic Computer Animation
SMC-2213-A
Hours: 6:00 pm–10:00 pm
Autodesk Maya is an animation and effects software program
used in the broadcast, film, game development and web design
industries. The course begins with a practical overview of Maya,
from its intuitive interface to project management. Building from
this foundation, basic techniques in modeling, animation, lighting
and rendering will be addressed. By the end of the course, students
will have created a 10-second animation piece. The course is an
introduction to a sophisticated application; previous experience
with a 3D program is highly recommended.
PREREQUISITE: SWC-1013, Windows and PC Basics, or equivalent.
CARL EDWARDS, animator, technical director. BA, University
of Illinois, Chicago. Clients include: Lester Weiss Computer
Animation and Data Motion Arts; Doros Motion; Magno Sound
& Video; Sam Edwards Editing Group, Inc.; Transcom Media;
Digital Animation.
Maya: Basic Computer Animation
SMC-2213-B
Hours: 10:00 am–2:00 pm
See SMC-2213-A for course description.
ALEKSEY CHEPAREV, modeling and assets supervisor, Mr. X
Gotham. BFA, School of Visual Arts. Professional experience
includes: Senior modeler, Framestore; modeling supervisor,
Charlex, Inc. Clients include: Verizon, Sprint, AT&T, Rockstar
Games, M&Ms, Samsung, Visa, Jeep. Film credits include: Noah;
The Giver; Welcome to Me; The Other Woman; Anchorman 2: The
Legend Continues; Pompeii; Black Nativity; The Mortal Instruments:
City of Bones; A Dream of Flying; One Rat Short. The instructor’s
work can be viewed at: mrxfx.com.
VISIT US ON YOUTUBE
toll-free tel. 877.242.7200 :: 53
COMPUTER ART
for Beginners
Maya: Intermediate Computer Animation
Virtual Cameras in 3D Space
SMC-3213-A
Hours: 6:00 pm–10:00 pm
This course will focus on the development of a 3D character from conception to a short animation. Students will further explore Autodesk
Maya’s modeling tools from NURBS and polygons to subdivisions in
order to digitally recreate 3D characters, props and environments.
Students will discover how to bring a character to life by learning how
to texture, rig and animate, in addition to exploring Maya’s more highend effects using particles, dynamics, fur and paint effects. By the end
of the course, each student will have created a fully rigged character
in a 10-second animation piece.
PREREQUISITE: SMC-2213, Maya: Basic Computer Animation,
or equivalent.
ALEKSEY CHEPAREV, modeling and assets supervisor, Mr. X
Gotham. BFA, School of Visual Arts. Professional experience
includes: Senior modeler, Framestore; modeling supervisor,
Charlex, Inc. Clients include: Verizon, Sprint, AT&T, Rockstar
Games, M&Ms, Samsung, Visa, Jeep. Film credits include: Noah;
The Giver; Welcome to Me; The Other Woman; Anchorman 2: The
Legend Continues; Pompeii; Black Nativity; The Mortal Instruments:
City of Bones; A Dream of Flying; One Rat Short. The instructor’s
work can be viewed at: mrxfx.com.
SMC-3216-A
Hours: 6:00 pm–10:00 pm
Have you ever wanted to film something that only existed in your
imagination? This course will teach students about using motion
capture technology to create a virtual camera that can be placed
inside their virtual world and be moved around like a real camera.
The class will explore the potential of virtual cameras for digital
content creation and visualization. We will touch on variations of
this technology, such as using a Primesense camera to make a
virtual point cloud of a real subject and further manipulating that
data. By the end of the course, students will have created a
30-second animated visualization of their design.
PREREQUISITE: SMC-2213, Maya: Basic Computer Animation,
or equivalent.
Rendering for 3D Animation
SMC-2212-A
Hours: 6:00 pm–10:00 pm
This course will focus on furthering students’ knowledge of
rendering in Maya. We will explore the different approaches
of popular renderers, such as Mental Ray, Vray, Arnold, RenderMan
and Octane. Scene preparation, lighting, interiors vs. exteriors,
rendering in linear space, optimization tricks and use cases for the
various renderers will be addressed, and utilization of render farms
will be discussed. By the end of the course, students will have a
much better understanding of rendering engines and proper
workflow habits.
READY TO REGISTER?
Details on page 4
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Creating Animation for Children’s Television
ANC-1029-A
Children’s programing utilizes aspects of traditional entertainment
like picture books, comics and comedic animation while often
incorporating a core curriculum of specific literacy, math, science
or pro-social goals. Students will learn how to take complex ideas
and express them in the most appealing and accurate ways possible.
Through explorations of the field’s roots in books, advertising,
and game design, students will have the opportunity to create
their own concepts for an animated program and experience many
aspects of this fascinating and often controversial field, such as
learning to impart real-world knowledge while still seeking to
build a successful brand. Students will learn to sharpen and refine
their ideas by writing and designing a pitch document. The class
will discuss animation screenplay basics, designing art for clarity
and economy, and the challenges of organically incorporating your
ideas into the worlds you create.
JEFF BUCKLAND, animation director, art director, designer,
writer. BFA, School of Visual Arts. Professional experience includes
projects for: Disney, MTV, Sesame English, PBS, Scholastic, Random
House Children’s Entertainment. Projects include: Beavis and ButtHead Do America. Doug, 101 Dalmatians, PB&J Otter, Stanley, Pinky
Dinky Doo, WordWorld. The instructor’s work can be viewed
at: jeffbuckland.com.
ONLINE COURSES
Great
Reasons
to visit the SVA Campus Store
We know the Visual Arts Student
The SVA Campus Store works closely with the
Division of Continuing Education so that we can
determine the best configuration for your needs. We
are conveniently located and are a one-stop shop for
all of your computing needs.
Software & Hardware Discounts
The SVA Campus Store offers great in-store pricing
on both current hardware and software.
Apple Authorized Campus Store
The SVA Campus Store offers professional guidance
and advice to assist you in making the right Apple
choice for your needs.
Take It Home Today
Because we have a demo area in-store, you can
try, buy and walk away with your new hardware or
software—today!
We Offer Local Repairs
Repairs are quick and convenient at our in-store
Apple Certified Repair Center.
Location: 207 East 23rd Street
New York, NY 10010
Phone: 212.592.2900
SVACampusStore
svacampusstore
@SVACampusStore
Apple and the Apple logo are trademarks of Apple, Inc.,
registered in the U.S. and other countries.
Store Hours:
Monday - Friday, 10AM - 6PM
svacampusstore.com
/ce/ce
56 56
:: sva.edu
:: sva.edu
design
DESIGN
CORPORATE TRAINING
¿HABLAS DISEÑO?
INFORMATION SESSION
One night: Tues., Aug. 23
6:30 pm–8:30 pm
What do you need to become a working designer? What type of
design do you want to do? Spend an evening with some of our
continuing education design faculty; see their work and their
students’ work, hear them discuss it, and let them answer your
questions on how to begin working in the world of design. There
will be time at the end of the program for a short portfolio review.
room 311, 3rd floor. Seating is given on a first-come, first-served
MODERATOR: SKIP SORVINO, principal, Sorvino Design Group;
design consultant.
BASIC COURSES
Principles of Visual Language
DSC-1016-A
Do you ever wonder why some designs are more visually effective
than others? Have you ever tried to analyze a composition to
understand how it works? Do you feel comfortable talking about
your work in visual terms? This studio course will address various
ways of making dynamic and effective compositions. Through
a series of paper-based assignments, students will experiment
with the principles of visual language, including: contrast of size,
shape, position and direction; units and super-units; repetition
and pattern; figure/ground relationships; and visual hierarchy.
Color Theory Workshop: Life Beyond Black, White
and Red
DSC-1014-A
Hours: 10:00 am–6:00 pm
Artists and designers often look for ways to expand their color
awareness. This search leads to questions: Why do certain color
combinations seem harmonious? Why does the appearance of a
color change depending on its background? Why does the extent
of a color make a composition seem balanced or imbalanced?
The answers to these and other questions can be discovered in this
workshop through experimenting with the traditional principles
of color theory. Presentations, demonstrations, hands-on experiments and discussions will all be part of our exploration of the
classic color teachings of Johannes Itten (the seven color contrasts),
Josef Albers (color relativity) and Albert Munsell (color systems).
Students will work with colored paper, gouache paint and found
materials. In addition, those with computer skills will be encouraged
to explore digital color tools like Adobe Color. Students will
complete the workshop with a greater awareness of color and
the knowledge gained from personal experimentation with key
color theory concepts.
NOTE: A supply list will be distributed upon registration in
this course.
toll-free tel. 877.242.7200 :: 57
DESIGN
There is no shortcut to great design. It starts with comprehensive
training to hone your talents into a skill set you’ll use to articulate
concepts. Of the myriad pieces of graphic design you’ll come across
today, only a few will have the power to stop you in your tracks. What’s
different about those that made you look again? Each is an example
of visual sophistication driven by smart thinking—an alchemical mix
of art and logic.
You need to understand the psychology of color to imbue feeling
into your design through the right tonal choice and combinations.
Mastery of typography is essential, which means not just a broad
vocabulary of typefaces, but also the ability to fine-tune type. You
need to study line, perspective, contrast, volume and shape for
fluent visual literacy.
Communication is at the heart of design, whether the message
comes in editorial, broadcast, packaging or website form. The Design
Department at the School of Visual Arts has courses in all these
areas. We will prepare you for a career in this competitive field with
a thorough grounding in traditional and contemporary techniques.
The Division of Continuing Education now offers a BFA degree
program in design. Please refer to degree programs in the General
Information section of this bulletin for details.
Graphic Design: Basic
The Art of Design: Basic
DSC-2021-A
Everyone agrees that in design the concept is most important, and
almost all recognize a terrific idea when they see it. But, can you
learn to get good ideas? Are there creative thinking techniques
you can practice? Are there rules to this game? Yes, yes and yes.
It’s what this course is all about. You will learn to develop interesting,
imaginative, award-winning solutions to book jackets, brochures,
packaging and mailing pieces with the ultimate goal of developing
a portfolio. We will cover the basic presentation skills needed to
sell your ideas. Home assignments, critiques, case studies, slide
presentations and gallery visits are all part of it. Start-to-finish printing
and production techniques are discussed with an emphasis on
“getting the job done.”
ED BRODSKY, founding partner, Lubell, Brodsky. Inc. MFA,
Syracuse University. Professional experience includes: Art director,
Doyle, Dane, Bernbach; Ruder & Finn; president, Art Directors
Club; board member, Type Directors Club. Clients have included:
American Express, Pfizer, JCPenney, BMW, Scholastic, Novartis,
Random House, Keyspan. More than 100 design awards, including:
Art Directors Club, AIGA, Type Directors Club, Graphis. The
instructor’s work can be viewed at: edbrodsky.com.
DSC-2034-A
NEW
Developing a solid foundation in graphic design is the focus of
this course. It will cover the art of typography, color, composition,
and other design fundamentals. Students are encouraged to use
their own or existing artwork to create designs for a variety of
projects—from posters, logos, catalogs and books to web branding,
and more. By the end of the course students will have acquired
a design skillset that will enhance their work. We will also address
self-publishing and self-promotion.
NOTE: This course is open to all students, including photographers,
illustrators, fine artists, filmmakers and even jewelry designers,
as well as others who want to acquire basic design abilities.
ROBERT BEST, creative director, The Nation; principal, Best
& Co Design. BFA, Syracuse University. Professional experience
includes: Creative director, New York magazine, Condé Nast
Traveler, Premiere. Awards include: Society of Publication Designers,
Art Directors Club, AIGA, Society of Typographic Designers,
Society of Illustrators. The instructor’s work can be viewed
at: bestandcodesign.com.
Graphic Design: Basic
DSC-2029-A
Ever had problems communicating with a family member or
a friend? This course will examine, dissect and resolve these
communication problems from a design standpoint, using a range
of media and basic design principles, including color, shape and
typography. Through these techniques we’ll explore the Who,
What, When and How of design and why you should care about
marks, books, websites, animation and stories, as well as other
design solutions. We’ll even talk about the (scary) real world
of design, and squash those fears with some fun projects.
MELANIE WIESENTHAL, principal, creative director, Deerfield.
BA, McGill University. Professional experience includes: Creative
director, Victoria’s Secret Beauty; art director, Martha Stewart
Living; senior packaging designer, Aveda; senior designer, Carbone
Smolan Agency; designer, The Valentine Group. Clients have
included: AIGA, Anthropologie, Bath & Body Works, Claire’s,
Crabtree & Evelyn, Intelligent Nutrients, Kate Spade, Morgan
Stanley, Sundãri, Sarah Magid Jewelry. Awards and honors
include: Print Regional Design Annual; Art Directors Club; HOW;
Graphis; Corporate Design Achievement Award, Cooper Hewitt,
Smithsonian Design Museum.
Finding Brand
ADC-2413-A
Business strategy identifies the core values of an organization
and product as a touchstone to decision-making. This course will
blend the creative and analytical points of view, such as marketing
and soft skills, to effectively communicate these values (and differences) so that the product becomes category defining, and the
logical selection for consumers faced with competing market
choices. Through an exploration of competitive contextualization
and market opportunity, we will cover how to define the product
fingerprint to elevate the organization and product beyond commodity and into valuable brand property. Cross-cultural sensitivity
and intellectual property considerations will be considered, and
use of traditional and new media in broadcasting the brand will
also be addressed.
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INTERMEDIATE LEVEL AND SPECIALIZED COURSES
Typography: Basic
Typography: Basic
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The use of typography as the basic material of communication is
the focus of this course. We will study the proportions and character of typefaces while stressing the importance of typography in
visual communication. Students will be encouraged to explore and
appreciate typography through experimentation. Assignments
may include posters, book and CD jackets, typographical “op-ed”
illustrations, and music packaging as well as conceptual assignments.
NOTE: Although not required, it is recommended that students
have access to a computer and a working knowledge of Adobe
Illustrator, Photoshop and InDesign.
KEVIN BRAINARD, principal, Pleasure; senior design director,
Collins. BFA, School of Visual Arts. Professional experience
includes: Deputy design director, Martha Stewart Living; art director,
HarperCollins Publishers; senior designer, SpotCo. Clients include:
Arnold Worldwide; Vintage Books; Farrar, Straus and Giroux; The
New York Times; Scribner; Simon & Schuster; MTV Networks;
Vintage Books; New York Press; Alfred A. Knopf; Arnell Group;
W.W. Norton & Company; Faber & Faber; Pantheon; Westport
Country Playhouse; Picador; AIGA. Publications include: American
Center for Design: 100 Show; AIGA Communication Graphics; Art
Typography: Basic Design and Presentation
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This course will focus on building strong type skills and making
typography your own, resulting in portfolio pieces. Assignments
with a strong emphasis on concept, creativity and research will
be given as a starting point, including book covers, editorial and
self-promotional pieces. The course will also address presentation,
interviewing and networking skills.
NOTE: Although not required, it is recommended that students
have access to a computer and a working knowledge of Adobe
Illustrator, Photoshop and InDesign.
JASON J. HEUER, Jason Heuer Design & Art studio. BFA, School
of Visual Arts. Professional experience includes: Associate art
director, recruiter, Simon & Schuster Publishing. Clients have
included: The New York Times, MTV, Penguin Random House,
AIGA, W.W. Norton, Times Square Alliance, St. Martin’s Press,
Grove/Atlantic, Picador, Rodale, Bergdorf Goodman, Bellagio
Hotel, Veuve Clicquot. Awards and honors include: Excellence in
Typography, Type Directors Club; AIGA 50 Books/50 Covers; Print
Regional Design Award, The New York Book Show. The instructor’s
work can be viewed at: jasonheuer.com.
Typography: Gourmet Typography
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Take control of your type instead of letting it control you. Learn
the typographic skills and secrets of experts, including what makes
a good typeface, selecting the right type for your job, combining
type, techniques for emphasis, fine-tuning, kerning and spacing
your type, and typographic dos and don’ts, as well as mastering
OpenType, type on the web, web fonts and type in motion. This
course will raise your level of design and production skills, and instill
an excitement and passion for typography. Three professional-level,
portfolio-building assignments will be completed, in addition to
the opportunity to review personal and professional work.
PREREQUISITE: A working knowledge of Adobe InDesign or Illustrator.
ILENE STRIZVER, typographic consultant; designer; founder,
The Type Studio and TypeCast Webinars. BFA, University of
New Mexico. Professional experience includes: Director, typeface
development, International Typeface Corporation; design supervisor
for typefaces, including ITC Officina, ITC Bodoni, ITC Founder’s
Caslon, ITC Legacy, ITC Conduit, ITC Woodland. Publications
include: Author: Type Rules! The designer’s guide to professional
typography. Blogs: TypeTalk [creativepro.com], Fontology series
[fonts.com]. Contributor: HOW, STEP Inside Design, Dynamic Graphics,
Letterspace. Clients include: Monotype Imaging, Linotype, Adobe,
International Typeface Corporation, Johnson & Johnson, Time
Inc., Whole Foods. Awards and honors include: Type Directors
toll-free tel. 877.242.7200 :: 59
DESIGN
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This course will help students to master the ability to execute
typographic design assignments from conception through completion.
A strong emphasis will be placed on the use of typography and its
relationship to illustration and photography. “Real-life” assignments
will be given, such as logos/stationery, book jackets, posters, CD
packaging, brochures and editorial. All aspects of the design
assignment will be addressed, from concept through presentation.
The work completed in this course makes it a portfolio-builder.
NOTE: Assignments vary each semester. It is recommended that
students have access to a Macintosh computer and a working
knowledge of Adobe Illustrator, Photoshop and InDesign. This
course may be taken for undergraduate credit. Please refer to
DSD-2050-CE in the credit courses section of this bulletin for details.
ADAM GREISS, vice president, global creative director/head,
Morgan Stanley Creative Services. BFA, School of Visual Arts.
Clients have included: BMG/RCA Records, NBC, Bowne, Equitable
Real Estate, CBS, Merrill Lynch, ASCAP, Cushman & Wakefield,
AT&T. Publications include: Adweek, Typography 20, The Graphic
Design Portfolio. Illustrator: You Think You’ve Got It Bad. Collections
include: Library of Congress, Museum of Modern Art. Awards and
honors include: “50 People to Watch in 2000,” Graphic Design:
USA; Type Directors Club; Print; Society of Publication Designers;
Graphis; American Corporate Identity; American Design Awards;
Creativity; AIGA; chairman, International Type Directors Club
design competition.
Directors Club Annual; HOW; American Illustration; Communication
Arts; Graphics Today; Print; Type Directors Club Annual; The New York
Times; Letterforms: Bawdy, Bad, and Beautiful; Handwritten: Expressive
Lettering in the Digital Age. Awards include: Art Directors Club
Young Guns, Telly, AIGA 50 Books/50 Covers. The instructor’s
work can be viewed at: kevinbrainard.com.
Club; Art Directors Club; AIGA; chairperson, TDC2 Type Design
Competition; chair, Type and Design Education Forum, Society
of Typographic Aficionados. The instructor’s work can be viewed
at: thetypestudio.com.
Typography: Expressive Typography
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Make more expressive typography with visual and conceptual
impact. This course will focus on creating type designs that
communicate with style, beauty, and ideas. Basic typesetting skills
(font recognition, categories, spacing/hierarchy choices, etc.)
are reviewed. Alternate sources for creating expressive letterforms
(such as photography and handcrafting) are explored. Attention
will be paid to current trends, while also reviewing fundamental
principles and traditional standards. The relationships among
letterforms, images and all the elements of a total design will
be examined in a series of practical class projects which will be
appropriate for creating or enhancing a professional portfolio:
magazines, posters, e-books, logos, branding, editorial graphics,
web pages, motion graphics.
JOHN SPOSATO, designer, illustrator. BFA, Pratt Institute.
Professional experience includes: Art director, ABC, Chicago
Tribune/Washington Post Corp., Franklin Mint; consultant, The
New York Times, Newsweek, Random House, DGT/Jupiter Media.
Clients have included: HBO; Paramount Pictures; Nabisco; CocaCola; CBS; NBC; Federal Express; AT&T; Sony; Esquire; New York
magazine; Simon & Schuster, Inc.; Penguin Random House;
Warner Communications; Kiplinger, Crain’s, General Motors;
United States Army. Awards include: Gold Award, Graphis Posters
Annual; Gold Award, Graphis Design Annual; Type Directors Club;
Art Directors Club; Society of Illustrators; Communication Arts
Annual; AIGA; ANDY; Print Regional Design Annual. The instructor’s
work can be viewed at: johnsposato.carbonmade.com.
Composing the Page:
Drawing for the Graphic Designer
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Creating dynamic design solutions for editorial assignments is the
goal of this course. Using shape, pattern, line and mass, students
will learn how to create tension in their drawings, from close-up
to panoramic views. With the classroom as background, students
will draw one another and incorporate design elements for a
unified composition. The combining of various design elements
will be emphasized in order to create balanced compositions for
page layout: multi-column, vertical, horizontal, double-page
spreads. Some design exercises will be based on prominent
graphic design styles of the early 20th century, such as Art Deco,
Suprematism, and De Stijl, as well as Dada artists and the geometric
designs of the Bauhaus. How to work with a confined space and
effects of cropping an image will be addressed, and attention will
be given to balancing image with text, and typographic choices.
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Throughout the course, we will work toward gaining confidence
to achieve creative solutions that communicate. Students may
work in their medium of choice, in black-and-white and/or color.
refer to DSD-2060-CE in the credit courses section of this bulletin
for details.
JOHN RUGGERI, illustrator. BFA, MFA, School of Visual Arts.
One-person exhibition: School of Visual Arts. Group exhibitions
include: Fine Art Gallery Center for Music, Drama and Art, Lake
Placid, NY. Publications include: The New York Times Magazine, Print,
Seventeen, House & Garden, Mademoiselle, Rolling Stone. Awards include:
Distinguished Artist-Teacher Award, School of Visual Arts.
The Fashion of Design and Advertising
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We are surrounded by fashion. Designers, celebrities, shows and
red carpet events are embedded in our culture and imprinted in
our collective sense of who we are. Design for the fashion industry
is big—and getting bigger—in advertising, retail and editorial.
Brands like Armani, Ralph Lauren, Gucci and Prada are spending
tens of millions of dollars to attract a luxe clientele through
magazines, campaigns, look books, videos, social media, and other
forms of advertising. There are also boutique fashion houses,
young designers and unique publications—all finding their voice
and market in the competitive fashion arena. Starting with a survey
of the industry today, we will explore trends in design and fashion.
This course will explore advertising, design and editorial projects,
in both traditional and new media. Throughout the semester,
creative directors, photographers, fashion designers, makeup
artists, and other professionals will visit the class and offer an
inside look at the industry.
YELENA B. DEYNEKO, creative director. BFA, School of Visual
Arts. Professional experience includes: Principal, creative director,
Spirit & Flesh. Corporate clients have included: Jacob & Co.,
Sony Music, EllaGem Jewelry, Martha Graham Dance Company,
American Express.
Brand Identity—Creating an Image
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What is a brand? This course will examine the basic principles of
corporate identity and develop a clear understanding of how to
design brands. Emphasis will be placed on the steps needed for
a consistent brand, such as identifying a company’s personality;
designing a logo; creating the visual elements that support the new
brand; and developing and designing its visual voice for multiple
uses, including print, the web and packaging. Students will complete
design projects that explore a range of applications through exercises,
group critiques, research and presentations. Each completed design
project will be an opportunity to include as a portfolio piece to their
existing work.
ANITA ZEPPETELLI, principal, Azura Design, Inc. Diploma, Dawson
College; Art Center College of Design. Professional experience
includes: Creative director, Interbrand. Clients include: World
Bank Group, LivePerson, Pauli Moto’s Asian Bistro, Logitell,
EmcArts Inc. Design consulting work includes: Interbrand Wood
Healthcare, Siegel+Gale, Enterprise IG, mcgarrybowen. Awards
and honors include: Communication Arts; Domtar Paper; Applied
Arts; Christmas stamp designer, Canada Post. The instructor’s work
can be viewed at: azuradesign.com.
Editorial Design
Break Out: Creative Solutions for
Thinking Differently
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This course will push you to break out of your creative process by
showing you different ways of finding creative solutions. Whether
you’re new to design, looking to figure out your process, or a
seasoned practitioner, it is imperative to diversify your creative
process to create fresh work. Each class assignment will introduce
a break out method to produce projects, which will range from
book jackets and posters to logos and ad campaigns.
NOTE: Students must have access to a computer for home
assignments. A working knowledge of the Adobe Creative Suite
is recommended.
JON NEWMAN, owner, Daydreams & Nightschemes. BFA, sum
cum laude, Temple University Professional experience includes:
Senior graphic designer, MTV Networks; graphic designer, Opto
Design, Lippincott, Pentagram, Angelini Design. Clients have
included: Wells Fargo, Comcast, Ford Foundation, The New York
Times, New York University, The Metropolitan Museum of Art,
Vibe, Outback Steakhouse, Paul Mitchell, Men’s Health, New York
Jets. Awards include: Silver Award, PromaxBDA; Type Directors
Club; AIGA; Communication Arts. The instructor’s work can be
viewed at: DDNSstudio.com.
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When banners and pop-ups were the web’s primary ad vehicle,
developing Internet advertising was considerably simpler. In creating
native ads for various platforms, designers are now tasked with
building compelling experiences that transform advertising
messages into content. Through lectures, studio work and
mini assignments, students will get the chance to hear about
conceptualizing design-first narratives and leveraging technology
to create memorable interactions. Together, we will discover
what it takes to encourage brands to be brave, innovative and
smart when telling their stories. This course will allow designers
to witness how “on brand but unbranded” designs come to life
in this fast-paced industry. To learn more about this course please
visit: designstory.guide.
PREREQUISITES: A working knowledge of the Adobe Creative Suite
(mainly Photoshop, Illustrator, InDesign), and some digital design
background. UX skills are preferred, but not required.
RACHEL GOGEL, creative director of T Brand Studio at The New
York Times; founder, Creative Jobs: The List. BA, University of
Pennsylvania. Professional experience includes: Design director,
GQ magazine (advertising). Design projects and clients have
included: Diane von Furstenberg; USA Network; Ai Weiwei: Never
Sorry; Maidentrip; Peter Som; Svilu; Hachette Book Group; Calder
Foundation; Brown University; Travel + Leisure; Artestar; Black
Light Dinner Party; Mashable; Harvard University. Publications
include: Forbes 30 under 30, U.S. News and World Report, Print
Regional Design Annual, Her Campus. Awards include: Hero of the
Year of Q4, The New York Times; Marketer of Q4, GQ magazine;
Kelly Family Fellowship Grant. The instructor’s work can be
viewed at: rachelgogel.com.
Graphic Design: Intermediate
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This course begins with an introductory survey of design practices,
including, but not limited to, typography, logo design, infographics
and magazine design, culminating in a class project for designing
a publication. Students will also work on individual projects to
realize a variety of designs.
BEN KING, art director, Travel + Leisure. BHA, Carnegie Mellon
University. Professional experience includes: Art director, Print; art
director, The New York Times; senior interactive designer,
Schematic. Clients have included: Madison Square Garden, Radio
City Music Hall, RightRides for Women’s Safety, Citibank, The
Atlantic, Vanity Fair, NBC, Discovery Channel, Queens College,
Condé Nast, Porsche, New York Photo Festival.
toll-free tel. 877.242.7200 :: 61
DESIGN
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In this course, you will create your own magazine (newspaper or
zine) from concept to bound product. We will consider every
element of each page until a cohesive product is achieved, which
suits both the magazine content and appeals to the target audience.
You will create covers, logos, a contents page, a feature and
department pages. Typography, layout, illustration, photography,
info graphics, grids, rubrics, white space, etc., will all become
familiar elements in your editorial design vocabulary. How to
package editorial material in a smart graphic style that represents
your personal aesthetic will be emphasized. In addition, you will
learn the basics for designing your magazine for the tablet.
PREREQUISITE: A working knowledge of Adobe InDesign.
NOTE: Students must have access to a computer.
ROBERT BEST, creative director, The Nation; principal, Best
& Co Design. BFA, Syracuse University. Professional experience
includes: Creative director, New York magazine, Condé Nast
Traveler, Premiere. Awards include: Society of Publication Designers,
Art Directors Club, AIGA, Society of Typographic Designers,
Society of Illustrators. The instructor’s work can be viewed
at: bestandcodesign.com.
Designer’s Guide: Building a Brand Story
The Feeling of Design
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How does design create feeling and tone? When clients ask for
a project to look a certain way (modern, fun, historic, confident,
professional, etc.) how does a designer understand that and then
achieve it? This course addresses graphic design as a tonal and
atmospheric whole. We will build upon an understanding of the
individual elements of design: typography, composition, color,
image usage, etc., and examine how—together—an emotional or
intellectual tone is created. This course is structured on weekly
assignments that begin with singular tones, and move quickly
into multi-tonal and more complex projects. We will discuss visual
perception, meaning-making, amplification, the idea of counterpoint and the significance of genre. Assignments will range in
topic and form, all with the goal of improving our methodology
and execution as visual designers. Students will develop an
understanding of how to create a desired feeling in design through
specific visual decision-making.
SUE WALSH, designer. BFA, University of Illinois at UrbanaChampaign; MFA, School of Visual Arts. Professional experience
includes: Assistant art director, The New York Times. Clients have
included: Alessi; Art in Embassies; Asia Society; Comedy Central;
John Templeton Foundation; Demos; The Nation; Theater for a
New Audience; Kiehl’s; Here Arts Center; The Foundry Theatre;
Creative Capital; The New York Times; Doris Duke Charitable
Foundation; Little, Brown and Company; New York Public Library;
Random House; Tin House Books; Weisman Art Museum.
Publications include: Graphis, AIGA, Communication Arts, Print. The
instructor’s work can be viewed at: suewalsh.net.
Image Design
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This course is designed for advanced students and professionals
from all creative backgrounds who want to differentiate their
portfolio and remain relevant in an increasingly competitive
market. We will begin with the meaning of image design and
an overview of its practice in creative fields. Students will then
explore how to develop a visual language through the design
process to create design pieces with personality and elevate their
body of work. Individual and group critiques will be included,
and guest lecturers will share their professional experiences.
Image Design is intended to assist each student in achieving an
independent voice as a commercial artist.
RICARDO VILLAVICENCIO, art director, Imagemaker; graphic
designer. Professional experience includes: Senior art director,
creative director, Leche Lowe Worldwide; senior designer, art
director, Brand New School. Clients have included: Jack Daniels,
Nissan, Cadbury, Corona, HP, Cartoon Network, Fuel TV, Oreo,
Toyota, Loyalkaspar, Psyop, Logan. Represented by: Strange Beast.
Exhibitions include: Kentucky Museum of Art and Craft, Louisville;
Caraffa Fine Arts Museum, Córdoba, Argentina; Museo de Arte
Contemporaneo, Santiago. Publications include: Print, Computer
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Arts, Stash, Communication Arts, IdN magazine. Awards and honors
include: David Ogilvy Award, Advertising Research Foundation;
Kidscreen Awards; Festival Iberoamericano de la Publicidad. The
instructor’s work can be viewed at: ricardovillavicencio.com.
Visual Branding
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This course offers an opportunity to discover the creative power
of visual branding through fresh ideas and originality. It will benefit
students from any creative-based discipline with a passion for
branding and design, but will be particularly relevant for graphic
designers and advertising creatives. Recharge your batteries through
a range of inspiring creative processes and design methods for
visual research and information gathering; learn fresh techniques
for brainstorming, concept generation and evaluation, and find
new angles on design development and implementation. Go a step
further and become confident in presenting and discussing your
work with a non-designer client to ensure the best solution. To find
out more about this course please visit: visualbrandingcourse.com.
refer to DSD-3533-CE in the credit courses section of this
ROSWITHA A. RODRIGUES, co-founder, creative director,
Magical Monkey. MA, with distinction, University of Vienna;
School of Visual Arts. Professional experience includes: Design
director, Ryan Drossman/MARC USA, producer, New York in
Motion. Clients include: Rheingold Brewing Company, Moviefone,
Hebrew Home at Riverdale, Jatheon Technologies Inc., Scholastic,
Pace University, HarperCollins, Gym Source, Baruch College,
Legal Resources Centre South Africa, Tessera, Arm & Hammer,
BB Promotions, San-Ei Gen F.F.I., DigitalOptics Corporation.
Awards include: HOW, Graphis, Advertising Women of New York,
National Council for Marketing and Public Relations, Creativity,
Print, American Graphic Design, Promax. The instructor’s work can
be viewed at: magicalmonkey.com.
Prototyping: Hands-On Fabrication
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Sat., Sept. 10–Oct. 22
7 sessions; 2 CEUs
$300; lab fee, $150
Prototyping is an invaluable asset to realize our artistic visions and
test design concepts. The focus of this course is hands-on making.
It will cover woodworking techniques, building molds for bending
plywood, customized jigs on the table saw, and various material
explorations to make a themed project (a birdhouse, for example).
Sessions will be held in the Visible Futures Lab, a state-of-the-art
rapid prototyping facility.
NOTE: The lab fee includes in-class demo materials, safety equipment, and access to tools and workstations. Additional materials
must be purchased by the student.
TAK CHEUNG, executive director, Nerdy Derby, Inc.; prototyping
coordinator, Visible Futures Lab, School of Visual Arts. Clients
have included: Martha Stewart Living Omnimedia, Rogers Marvel
Architects, Freecell Architecture. Publications include: Wired, The
New York Times, Metropolis. The instructor’s work can be viewed
at: eatlovely.com.
Prototyping: Digital Fabrication Tools
Modern Aesthetics
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This course is conceived of as an experiment of sorts: It will survey
some of the most influential modern aesthetic theories by looking
at them through the prism of Theodor W. Adorno’s reflections.
It aims to illuminate facets of major problems in aesthetic theory—
the relation of nature and art, the meaning of aesthetic theory for
social critique, the relevance of the element of form in the artwork, and the nature of spontaneity in aesthetic experience—all
considered from contrary, even contradictory perspectives. If, as
Immanuel Kant once conceded, metaphysics has been a “battlefield … of endless controversies,” barely anything less can be said
of the field of aesthetics. We will examine these controversies,
expressed in modern aesthetic theories, as symptoms of society’s
crisis. The class will deal with works by such authors as Søren
Kierkegaard, Georg Lukács, Walter Benjamin, Benedetto Croce,
John Dewey, Edmund Husserl, Martin Heidegger, Jean-Paul Sartre,
Jacques Derrida and Theodor W. Adorno. Different texts are
covered each semester and some authors may change.
NOTE: No previous knowledge of the works of these thinkers is
required to take this course.
DEVI DUMBADZE, philosopher, sociologist. BA, Tbilisi State
University; MA, Ruhr-University Bochum. Professional experience
includes: Visiting scholar, The New School; scientific assistant,
lecturer, Institute for Media Studies, Ruhr-University Bochum;
lecturer, scientific editions coordinator, Department of Philosophy
and Social Sciences, Ilia State University. Publications include:
Festschrift für Burkhard Mojsisch, Tbilisi; Limes: Rivista Italiana di
Geopolitica; Netgazeti; Jungle World; Zeitschrift für Medienwissenschaft;
Topos: Journal for Philosophical and Cultural Studies; Matsne: Series in
Philosophy and Psychology; Neue Zürcher Zeitung. Translator, Habermas,
Knowledge and Human Interest; Adorno and Horkheimer, Dialectic of
Enlightenment (Georgian). Awards and honors include: Open Society
Georgia Foundation; Munich Grant, Goethe-Institut; DAAD; Paul
Celan Fellowship, Institute for Human Sciences, Vienna.
World
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toll-free tel. 877.242.7200 :: 63
DESIGN
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7 sessions; 2 CEUs
$300; lab fee, $150
test design concepts. The focus of this course is to explore a wide
range of digital fabrication processes. Through guided workshops,
students will design projects to laser cut, CNC mill and vinyl cut.
Adobe Illustrator will be the primary program used to generate
artwork files. Sessions will be held in the Visible Futures Lab, a
state-of-the-art rapid prototyping facility.
PREREQUISITE: A working knowledge of Adobe Illustrator.
NOTE: The lab fee includes in-class demo materials, safety equipment, and access to tools and workstations. Use of laser cutters,
CNC router, and other digital fabrication machines may incur
additional fees. All other materials must be purchased by
the student.
at: eatlovely.com.
ADVANCED COURSES
Build an Integrated, Digital, UX Mindful, Big Idea
Portfolio: It’s What You Need to Get a Job Today
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Whether creating an ad portfolio or already have one, whether
you’re a writer or an art director, in order to break through the
crush of portfolios out there, you need a book filled with big
ideas. Ideas so big they trigger multichannel executions. If your
ideas only work in one medium, you simply won’t get hired today.
This course will teach you how to create and develop a quality
portfolio of ad campaigns across channels that span the web,
mobile, social, ambient, guerrilla, print, outdoor, and beyond.
We will discuss the digital ecosystem and how to best display your
ideas in your portfolio. Examples of noteworthy integrated concepts and User Experience (UX) inspired thinking will be shared.
With an introduction to the key principles of interactive design,
you’ll create multi-platform solutions for consumer products and
learn how to maximize their reach and usability. And given that all
assignments will be critiqued from both a creative and UX perspective, your portfolio will show that you truly understand digital
integration...a must for tomorrow’s creatives. We know what
today’s creative directors look for in new talent and we want your
portfolio to be sought after. We’ll help you master creative/UX
integration, so you can build an A-list portfolio. The kind that puts
you in the strongest position to move into, or move up in, the
business, and get the most creative and interesting work possible.
JOHN REA, executive creative director, Havas Worldwide.
BFA, School of Visual Arts. Professional experience includes:
McCann-Erickson, Wells Rich Greene BDDP, JWT, Rolling Stone.
Accounts include: Coppertone, Claritin, Volvo, Coca-Cola,
Ferrero, HBO, Intel, Paramount Pictures. Awards include: Art
Directors Club, International Film and Television Festival, Cannes
International Advertising Festival, Adweek’s 100 Best, Type
Directors Club, Archive, Graphis. The instructor’s work can be
viewed at: cargocollective.com/johnrea.
EFRAT WEIDBERG, senior experience designer, SapientNitro.
Professional experience includes: Mobile UX designer, Amazon;
user experience designer, Infusion; senior interactive developer/
designer, EDGE DNA. Accounts have included: 9/11 Memorial
Museum, Samsung, MetLife, Time Warner Cable, New York Life,
Ciroc Vodka, Sotheby’s Diamonds.
READY TO REGISTER?
Details on page 4
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Design Portfolio
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If you are stuck in a job that does not challenge you or find yourself
in need of re-charging your creative batteries or your portfolio, come
join this course. In an intensive critique/workshop setting, you
will be challenged to re-awaken your creative energy and channel
it into the development of head-turning work. Get yourself to the
next level, explore new territory, push your limits, surpass style,
invent, re-invent, find and advance your own voice and create a
portfolio that you’re proud to show and that will get you hired to
do the work you love to do. To find out more about this course
please visit: myportfoliocourse.com.
NOTE: Please bring your portfolio to the first session. This course
will be held at Magical Monkey, 630 Ninth Avenue, Suite 1102A
(between 44th and 45th streets). This course may be taken for
undergraduate credit. Please refer to DSD-4010-CE in the credit
courses section of this bulletin for details.
Design Portfolio: Getting Your Work
to Get You Work
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NEW
You have some great work, now what? This course is geared to
help designers with finished pieces put their work together to
present to potential clients and/or employers. We will design your
print portfolio, website, embedded images for emails, and social
media presence. We will also address networking, emailing, interviewing and self-promotion campaigns. There will be a series of
guest lecturers from the design industry to talk about what they
look for, what not to do, and answer questions.
NOTE: Please bring all design and other work you wish to include
in a portfolio to the first session.
JASON J. HEUER, Jason Heuer Design & Art studio. BFA, School
of Visual Arts. Professional experience includes: Associate art
director, recruiter, Simon & Schuster Publishing. Clients have
included: The New York Times, MTV, Penguin Random House,
AIGA, W.W. Norton, Times Square Alliance, St. Martin’s Press,
Grove/Atlantic, Picador, Rodale, Bergdorf Goodman, Bellagio
Hotel, Veuve Clicquot. Awards and honors include: Excellence in
Typography, Type Directors Club; AIGA 50 Books/50 Covers; Print
Regional Design Award, The New York Book Show. The instructor’s
work can be viewed at: jasonheuer.com.
DESIGN COURSES ONLINE
Principles of Visual Language: Form and Color
OLC-2051-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
Typography is an essential tool for visual communication. At its
best, typography is the art of deploying symbols of language in
order to articulate voice, identity, meaning and beauty. In this
course you will explore how to use this incredible tool as a means
to an end. Ultimately, you will create a typographically driven
identity for a cultural institution in your community. We will
explore both the formal (beautiful) and practical (useful) aspects
of typography, while learning about the history of typography and
the anatomy of letterforms. A series of related exercises will be
undertaken to further comprehend the subject matter; some of
these will be traditional approaches to typography, others more
contemporary practices. Design doesn’t happen in a bubble, and
typography doesn’t happen without voice and intent. We will
consider the impact of our work beyond the classroom and how
it may be perceived in distinct cultural contexts. This course is
open to intermediate- to advanced-level design students.
PETER KAPLAN, lead designer, Museum of Arts and Design.
Professional experience includes: Graphic designer, NYC & Co;
graphic designer, REDCAT, Los Angeles. Group exhibitions include:
Art Directors Club; Galeries du Cloître, École des beaux-arts de
Rennes, France. Awards and honors include: Type Directors Club,
Art Directors Club, AIGA. The instructor’s work can be viewed
at: pkap10.com.
toll-free tel. 877.242.7200 :: 65
DESIGN
OLC-1018-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
In this course we will explore ways to create engaging and
memorable two-dimensional design. Students will be encouraged
to adopt a disciplined, yet playful, creative process. Using accessible
materials and simple techniques, both handmade and digital, we
will experiment with the principles of two-dimensional design and
color theory, including figure and ground; unity of form; contrasts
(geometric & organic forms, shape, size, direction, texture);
unit/super-unit/pattern; visual hierarchy, harmony, rhythm and
narrative; the seven color contrasts; color illusion and color
expression. The goal of the course is to develop a creative toolkit
of ideas and techniques, embrace a unique awareness of form and
color, strengthen design skills and encourage a way of learning
through experimentation and play. This is a basic-level course and
is open to all students.
Typography and Identity
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film and video
FILM AND VIDEO
CORPORATE TRAINING
INFORMATION SESSION
6:30 pm–8:30 pm
What are the career opportunities in film, video and animation in
New York? What do you need to begin? Spend an evening with
some of our continuing education film, video and animation faculty;
see their students’ work, hear them discuss it and let them answer
your questions on how to begin working in these dynamic fields.
NOTE: This information session will be held at 209 East 23rd
Street, room 502, 5th floor. Seating is given on a first-come,
MODERATOR: VALERIE SMALDONE, principal, Valerie Smaldone
Media Worldwide; voice-over artist and live announcer;
host, Valerie’s New York; actress; producer; writer; celebrity
interviewer, 92Y; talent coach.
COURSES IN FILM ARE LISTED UNDER
FILMMAKERS DIALOGUE page 67
PREPRODUCTION page 68
PRODUCTION page 70
POSTPRODUCTION page 73
WRITING page 76
ACTING AND VOICE-OVER page 78
CINEMA STUDIES page 81
Ralph Appelbaum's Filmmakers Dialogue
Ten evenings plus bonus screenings
Seating is limited and early registration is suggested.
Discount parking is available.
CFC-2004-A
Tues., Oct. 4–Dec. 13 (dates and time subject to change)
No class, Oct. 11
Sessions begin at 6:15 pm; $425
Most avid filmgoers are critics—but there’s nobody to sound off to.
Imagine being in a theater after previewing a major new film, the
lights go up, and in front of you are the creators of the film.
Welcome to Ralph Appelbaum’s Filmmakers Dialogue, New York’s
premier film preview series. Now celebrating its 36th year.
Without waiting in line (except maybe for popcorn) you can preview important new studio and independent releases and meet the
films’ actors, directors, writers and producers.
Since launching FILMMAKERS DIALOGUE in 1980, with a showing
of The Elephant Man at the Library and Museum for the Performing
Arts at Lincoln Center to an audience of 100 New York film lovers
and a post-screening discussion with director David Lynch, producer
Jonathan Sanger and actor John Hurt, the series has been a special
venue for previewing the best new films and discussing the creative
process with the filmmakers themselves.
Our loyal film fans have been rewarded over the years with such
important movies as Spotlight, The Danish Girl, American Sniper,
Unbroken, Fury, The Humbling, The Judge, Nightcrawler, The Water
Diviner, The Place Beyond the Pines, Sapphire Girls, What Maisie Knew, At
Any Price, Love Is All You Need, Blue Valentine, Hereafter, Million Dollar
Baby, The Sea Inside, Out of Africa, Terms of Endearment, Gorillas in the
Mist, Field of Dreams, Scarface, In the Name of the Father, Sea of Love,
Casino, The Crying Game, Tootsie, Rain Man, Driving Miss Daisy, Traffic,
Good Will Hunting, Platoon, Jerry Maguire, Pretty Woman, Schindler’s
List, Mystic River, Jarhead, American Splendor, Vera Drake and A
Beautiful Mind.
FILMMAKERS DIALOGUE participants have met and spoken with
more than 800 movie greats, including Joan Allen, Jean-Jacques
Annaud, Maria Bello, Jeff Bridges, James L. Brooks, Jerry Bruckheimer,
Michael Caine, Matt Damon, Daniel Day-Lewis, Danny DeVito,
Robert Duvall, Morgan Freeman, Paul Giamatti, Gene Hackman, Ron
Howard, Anjelica Huston, Samuel L. Jackson, Rebecca Miller, Edward
Norton, Gwyneth Paltrow, Michelle Pfeiffer, Keanu Reeves, Charles
Shyer, Robert Wise and Richard Zanuck.
Recent guests have included Danny Boyle (Trance), P.J. Hogan
(Mental), Susanne Bier (In A Better World); Neil Burger (Limitless);
Andrew Jarecki (All Good Things); Peter Riegert, John Gray (White
Irish Drinkers); Doug Liman (Fair Game); Nigel Cole (Made in Dagenham);
Pamela Gray (Conviction); Roger Michell (Morning Glory); Lone Scherfig
(An Education); Richard Linklater (Me and Orson Welles); Jim Sheridan
(Brothers); Michael Hoffman (The Last Station); Juan José Campanella
(The Secret in Their Eyes); John Patrick Shanley (Doubt); Tony Gilroy
(Duplicity); Paul Schrader (Adam Resurrected); Ari Folman (Waltz with
Bashir); Peter Saraf (Sunshine Cleaning); Richard Eyre (Notes on a
Scandal); Michael Apted (49 Up, Amazing Grace); Barry Levinson
(The Humbling).
For many studios, FILMMAKERS DIALOGUE has become a
tradition to launch their latest films. For many New Yorkers,
FILMMAKERS DIALOGUE is the most satisfying way to see movies.
toll-free tel. 877.242.7200 :: 67
FILM AND VIDEO
The art of filmmaking—writing, directing, cinematography, editing,
sound—inspires and influences people and the world around us. It
takes talented, passionate, creative individuals to work in this fascinating industry. In New York, a great number of jobs can be found
in film production for television, cable, local and network stations,
as well as independent companies that create feature-length,
documentary, commercial and educational productions.
Many successful film professionals began their careers by developing
strong skills in the various aspects of their craft. Art is derived from
craft. Therefore, we have focused our film/digital program on learning each part of the process, giving you a solid foundation for getting
that first job.
Screenwriters who have an understanding of the roles of the
director, actor and editor will make for better writers. Directors
with a grounding in acting, editing and cinematography can project
stronger reflections of their personal vision. We offer courses in
screenwriting, production, cinematography, directing, producing,
sound design, acting, editing and marketing.
PREPRODUCTION COURSES
Producing Commercials for Television
in the 21st Century
ADC-2164-A
Field trips to state-of-the-art production facilities and services are
a featured aspect of this course. Top advertising agencies have
long demonstrated their ability to turn out more superb television
entertainment than the Hollywood studios turn out as programming.
This course delivers an in-depth review of today’s world of advertising for film production for television as well as the Internet.
Topics include: steps followed by the assigned agency producer,
budgeting, bidding, preparation of estimates, organizing the
production, storyboard audio break downs, casting, costuming,
location selection, set needs, shooting and editing, recording and
mixing, and the completion of the commercial for on-air/Internet
release. The working relationships of the writer, art director and
producer will be examined, as well as viewing commercials of note,
and hearing from guest lecturers on producing the best work.
ROBERT NAUD, author, director, producer, Bob Naud
Productions. MA, Columbia University; EdD, California Coast
University; Royal Academy, London; Musée Comando, Paris.
Author: Lights, Action, Madison Avenue. Professional experience
includes: ABC, CBS, NBC, McCann-Erickson, Young & Rubicam.
Creator: Swiss Family Robinson, Turner Broadcasting; Helen Hayes on
Helen Hayes; National Alcoholism Test; Celebrities on Camera; You Bet
Your Life; NBC’s The Doctors; director, technical advisor, Gossip Girl.
More than 300 awards for commercials, including: Kodak, Frito
Lay, Tang, Clairol, Travelers Insurance, Coca-Cola, Westinghouse,
Palmolive, Exxon, Lipton, Excedrin, Colgate, Chrysler, Bristol
Myers Squibb.
The Assistant Director: Running the Production Set
CFC-1067-A
This course will focus on the critical job of an assistant director.
How an AD organizes and runs a smooth production both in
preproduction and on the set will be explored. We will examine
how to schedule and break down a script in preparation of a
shoot, and how to work with the director to translate his or her
needs into tasks for the production crew. Managing an efficient
set and getting the shots needed to finish a film on time and on
budget will be emphasized.
MATT MANJOURIDES, producer, Troma Team Video. BFA,
Ringling College of Art and Design. Projects include: Father’s Day;
Return to Nuke ‘em High, volumes 1 and 2; The Alcoholist; Megafoot;
Direct Your Own Damn Movie; Troma is Spanish for Troma. Screenings
include: Cannes Film Festival, American Film Market, European
Film Market, Toronto Film Festival, Brussels International Fantastic
Film Festival, Sitges Film Festival, Museum of Modern Art.
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Pitch Your Television Series to Industry Experts
CFC-1334-A
This course will provide students with the opportunity to meet
top production executives, showrunners and network executives
who will share their expertise on what it takes to create a powerful
television series. Students will learn the key skills of series development, networking, pitching a series and negotiating the best
deal. You’ll screen compelling sizzle reels, learn how to attract
an agent, how to get into the networks and how to pull the series
elements together. These industry pros will give you insider tips
on taking your project, and your career, to the next level.
JIM ARNOFF, television/web packaging agent, entertainment
lawyer, certified life coach. BA, University of Pennsylvania;
JD, with honors, George Washington University; CPC, Institute
for Professional Excellence in Coaching. Programs packaged
include: What’s Good, Band of Ballers, MTV2; I Spy, HBO; Burly
Sports, CBSSports.com; Rahzel’s Rap Minute, atom.com; Wake Up
America, FOX; Verizon/Fios makeover specials; Back Spin, Bravo;
short animated films, Sesame Street. The instructor’s work can be
viewed at: arnoffco.com.
Producing the Low-Budget, Independent Film
CFC-2072-A
Thurs., Sept. 29–Nov. 17th
This course is an introduction to the fundamental components
for producing a low budget, independent film. In addition to
lectures and screenings, guest speakers will share their experiences
on the role of the producer and managing a production team
from preproduction to completed work. Topics include evaluating
a property, developing, planning logistics, production shooting,
postproduction and finishing.
SAL OPPEDISANO, director, associate producer, Liberty Studios.
School of Visual Arts. Professional experience includes: Producer,
director, 4Kids Entertainment; producer, Lucky Duck Productions.
Television projects include: Teenage Mutant Ninja Turtles, Sonic,
Yu-Gi-Oh!, Pokémon, When I Was a Girl. Clients include: Coca-Cola,
Merrill Lynch, USA, Timberland, Nationwide, Cabbage Patch Kids,
Visa, Schwinn, MTV, Comic Con, Microsoft, AT&T. Awards and
honors include: CINE Golden Eagle, Telly.
Producing the Feature Film
Producing Your Own Digital Series
CFC-2257-A
Do you have an amazing idea for an online series and want to
make the idea a reality? If you’re interested in creating a digital
series, this course is a great resource toward producing the show
you want to see or wish you were cast in. Topics will include,
casting, fundraising, brand integration, art direction and how to
search for the right film crew, as well as the importance of marketing. Students will create and cultivate a series and present it
to a web producer during the last session.
SHERESE ROBINSON, screenwriter. BFA, School of Visual Arts;
MFA, Columbia University. Professional experience includes:
Scriptwriter, All My Children. Award: Phillip Morris Film Grant.
The instructor’s work can be viewed at: limebeat.com.
and silver awards, Telly; First Prize, San Francisco Film Festival;
gold, silver and bronze awards, WorldFest Houston; Silver Plaque,
Chicago Film Festival; Silver Award, Hugo; silver and bronze
awards, Cindy; Communicator Crystal Award of Excellence; Red
Ribbon, American Film Festival. The instructor’s work can be
viewed at: vitaleproductions.com.
From Fantasy to Reality: Production/Concept Design
ILC-2548-A
When one imagines a dramatic story in a remarkable setting, often
the details are a bit fuzzy. This course will explore how to create
concrete designs and plans of interior and exterior spaces that
convey narrative content. After researching the design of different
historical periods, basic drafting and perspective techniques will
be covered, including multiple angles, elevations and prop details.
Character and costume designs, as well as how to professionally
present ideas and plans to prospective clients and collaborators
will all be addressed. Each student will be assisted in choosing the
best medium/applications (including Adobe Photoshop) to bring
a project to completion. The techniques covered can be applied
to areas of stage, screen, animation and gaming. Open to students
at all levels.
NOTE: Please bring a vellum tracing pad (11x14" or larger),
a sketchpad (11x14" or larger) and 2B pencils to the first session.
SIMONA MIGLIOTTI AUERBACH, production/set designer. BA,
Sapienza–Università di Roma. Film projects include: The Life Aquatic
with Steve Zissou, La Seconda Notte di Nozze, The Conquering Knights,
Enchanted, Morning Glory. Television projects include: Rome (HBO),
Strange Love, Il Sicomoro, Tickling. Awards include: Best Italian Production
Design, Chioma di Berenice Award; Premio di Qualita Award,
Italian Ministry of Culture; Berlin Film Festival. The instructor’s
work can be viewed at: simonamigliottiauerbach.com.
Creating an Industrial Spot
CFC-2133-A
NEW
Whether you own a small business, nonprofit organization, or
simply work in a company in need of promotion, this course offers
you the opportunity to learn the technical and aesthetic skills necessary to shoot an industrial for your business. Through a handson approach to camera, sound recording and lighting, students
will create a five-minute industrial documenting the various
aspects that make the company appealing in order to promote,
sell or fundraise. Editing options will be discussed.
FRANK VITALE, audiovisual director, March of Dimes.
BS, McGill University; MA, Manhattanville College. Features
include: East End Hustle; Thunder Born; Montreal Main; When Nature
Calls; Joe; Guess What We Learned in School Today; Silent Night, Bloody
Night; The Battle of Loves Return; The Rubber Gun; Cry Uncle.
Screenings include: Whitney Museum of American Art, London
Film Festival, San Francisco Museum of Art, American Film Institute,
Mannheim Film Festival, Calgary Cinematheque, Locarno Film
Festival, Museum of Modern Art. Awards include: Gold Award,
MarCom Creative; Gold Medal, International Davey Award; gold
toll-free tel. 877.242.7200 :: 69
FILM AND VIDEO
DTC-2373-A
NEW
Producing the Feature Film is for anyone who wants to learn the
ins and outs of producing a feature film from both financial and
creative viewpoints. The course will cover all aspects of producing
from the idea stage through to delivery of the picture. Industry
professionals will be brought in to give supplemental lectures in
such areas as entertainment law when we are dealing with options,
and we will hear from a studio executive who will discuss acquisitions,
as well as a line producer and other appropriate professionals. The
course is formatted in the same way that the development and
production of a feature is structured.
SOFIA SONDERVAN, film producer. BFA, magna cum laude, New
York University. Film and television projects include: London Town,
The Man Who Knew Infinity, Urge, Bringing Up Bobby, Cadillac Records,
Feel The Noise, The King. Awards include: Best Film, Black Reel Award.
PRODUCTION COURSES
equipment and facilities outside of class time unless indicated in the
course description.
Digital Filmmaking I
CFC-1003-A
Hours: 7:00 pm–10:00 pm
This course will take students through the production process for
digital filmmaking while transforming your short story from the
page to the screen. Students will learn technical skills and their
application through a hands-on approach to camera, sound
recording and lighting, as well as aesthetic choices for creating
a scene. Working with actors and collaborating with a production
crew will be included. Digital workflow will be discussed and
demonstrated. Each student will script, direct, shoot and work
with an editor to complete his or her three-to-five minute
digital project.
NOTE: Students can reserve digital cameras as specified by the
instructor for home assignments.
SALVATORE PETROSINO, director of operations, BFA Film
Department and BFA Animation Department, School of
Visual Arts. BFA, School of Visual Arts; Baruch College.
Productions include: Crossroads, Passions, They Used To Call It South
Brooklyn, Isolation Tank. Commercials/industrials include: Heineken
Beer, UN2, American Design Furniture Collection. Screenplays
include: Moments of Mind, Seasonal Passages.
Digital Filmmaking II
CFC-1004-A
Hours: 7:00 pm–10:00 pm
This course is a continuation of CFC-1003, Digital Filmmaking I.
Each student will work on the transformation of a short script into
a five-minute film. We will begin with a focus on preproduction
and production, which will include breaking down the script,
scheduling, producing, casting, location scouting, storyboarding,
creating shot lists and shooting of the script. Using various scenes
from student scripts, in-class productions will emphasize the actordirector relationship, as well as camera and lighting techniques.
During the final weeks of the course, students will work with an
editor for postproduction. Editing of projects, color correction,
titles and adding music will be covered.
PREREQUISITE: CFC-1003, Digital Filmmaking I, or equivalent.
NOTE: Please bring a five-minute script to the first session. Students
can reserve digital cameras as specified by the instructor for
home assignments.
DEJAN GEORGEVICH, director, cinematographer. BA, University
of Denver; MFA, New York University. Film credits include: Woo;
Crossing Fields; Satan’s Little Helper; The Emperor’s Club; Follow
Me Outside; The Beatle Fan; Mirrors. Television credits include:
Mercy, Cupid, 3 Lbs., The Blacklist, Cashmere Mafia, Elementary,
The Book of Daniel; The Education of Max Bickford, My Sergei,
Spotlight on Broadway, A Wayfarer’s Journey: Listening to
70 :: sva.edu / ce
Mahler. Commercials for: AT&T; Chrysler; HBO; Pfizer;
Showtime; Toyota; Nissan; Exxon; Hallmark Entertainment;
MSNBC; Sheraton Hotels. Awards include: Gold Hugo, Chicago
Film Festival; Ciné Golden Eagle; Gold Medal, Houston Film
Festival; Gold Medal, International Film and Television Festival of
New York; Best Picture Award, Hamptons International Film
Festival; Emmy Award; Deluxe Bud Stone Award, International
Cinematographers Guild. The instructor’s work can be viewed at:
georgevichasc.com.
Directing
CFC-2040-A
Hours: 7:00 pm–10:00 pm
10 sessions; 3 CEUs
$400; professional actors’ fee, $110
Through intensive hands-on exercises, students will explore
directorial strategies. The goal of the course is to have students
direct as much as possible by workshopping their own scenes
or choosing material written by others. Directors will collaborate
with professional actors who will come in on a weekly basis. By the
end of the semester, students will have an understanding of the
responsibilities, methods and craft of directing and begin to define
their own personal directorial style.
TODD STEPHENS, producer, writer, director. BFA, New York
University. Films include: Edge of Seventeen, Gypsy 83, Another
Gay Movie. Film festival screenings include: Sundance, Tribeca,
Seattle International. Awards include: “One of the 25 New Faces
of Independent Film,” Filmmaker; Best Screenplay/Feature Film,
Outfest Los Angeles; Best Director, Seattle Lesbian & Gay Film
Festival; “Out 100,” Out.
Creating a Documentary Film
CFC-3027-A
Hours: 7:00 pm–10:00 pm
In this digital age, it is widely believed that all that is needed to
make a film is a camera and a laptop. By emphasizing storytelling
and character development, this comprehensive course will give
students the necessary tools to produce a truly compelling documentary. Through hands-on exercises, screenings and analysis of a
variety of documentary films, students will be immersed in some
of the key elements of documentary production. Topics will include
research, proposal writing, interviewing and shooting techniques,
handling “hot” situations and product distribution. Each student
will shoot a short individual documentary on digital video. While
editing techniques will be discussed, access to editing software is
not included in this course.
FREDERICK RENDINA, producer, director. BFA, Emerson College.
Clients include: History Channel, Biography Channel, National
Geographic Television, A&E, Associated Press Television News,
Discovery, United Nations, Link TV, RAI Italy, NHK Japan, PBS.
Projects include: Wide Angle series; Investigative Reports; 5 Takes
series; National Geographic on Assignment. Films include: To Educate
a Girl; Turning the Tide: Tsunami Volunteers; Utopia; A Gang for Good;
After the Gun; Kabi; Let the Good Times Roll…Again; Secrets of the Soul.
Awards include: National Endowment for the Arts; New York
State Council on the Arts; Best Screenplay, Nantucket Film
Festival; Tony Cox Screenwriting Award; Bronze Apple, National
Educational Film and Video Festival; Best Online Series, Magazine
Publishers of America; South Asian Journalist Association Award;
Panavision New Filmmaker Grant. The instructor’s work can be
viewed at: frederickrendina.com.
Documentary Workshop II
VISIT US ON YOUTUBE
CFC-3034-A
Hours: 7:00 pm–10:00 pm
10 sessions; 3 CEUs
This course offers a hands-on approach to cinematography where
students work on their own lighting setups that will support the
context of the story for film and digital media. Topics to be discussed and demonstrated include use of camera controls, lenses,
exposures, film stock, composition, motion, quality of light and
function, color, visual continuity, and the blending of light and
shadow for interiors and exteriors. Arriflex 16 SR1 and Panasonic
AG-AF-100 cameras will be used in this course.
IGOR SUNARA, director of photography. BA, with honors,
University of Westminster. Films include: The Haunted Secret, The
Keeper, On The Run, Mercy of the Sea, Misplaced, Tripwire, Cop Land.
Short films include: Landscaper’s Daughter, Moments, The House Guest.
Documentary films include: Searching for Orson, Jerusalem Syndrome,
American Dream. Commercials include: Coors Light, AT&T, CocaCola, Kodak. Music videos include: Bon Jovi, Rod Stewart, Lil’ Kim,
Notorious BIG, Diana Ross, Dolly Parton, Liza Minnelli, John Cale
& Lou Reed, Whitney Houston. Awards include: Best Campaign,
Telly Award; Best Cinematography Award, Staten Island Film
Festival; Student of the Year Award, University of Westminster.
The instructor’s work can be viewed at: warstreetmovie.com.
Cinematography: Lighting and Advanced Techniques
CFC-3036-A
Hours: 7:00 pm–10:00 pm
10 sessions; 3 CEUs
This course will examine four interrelated areas of cinematography
that are essential to the realization of the dramatic demands of
the script: “the look” (lighting), viewpoints and post flows.
Through demonstrations and hands-on projects, students will
explore sophisticated lighting techniques for film and digital cinematography. We will address how to translate ideas into pictures,
and students will experiment with varied lighting styles to create
moods and images for interiors and exteriors. In-camera effects,
lenses, emulsion, exposure, contrast, camera placement, composition, movement, continuity and color, as well as working with a
director and crew will also be covered. Arriflex 16 SR2 Super 16
film camera; Sony F-3 (and or FS-100); Fisher Dolly; Jib arm;
Gear Head; Steadicam; tungsten, HMI, LED and Kino-Flo lights
will be used in class.
PREREQUISITE: CFC-3034, Cinematography, or equivalent. You may
also submit a cinematography demo reel for evaluation prior to the
beginning of the course.
toll-free tel. 877.242.7200 :: 71
FILM AND VIDEO
CFC-3028-A
Hours: 7:00 pm–10:00 pm
Rooted in the concepts introduced in CFC-3027, Creating a
Documentary Film, this course will further examine all aspects
of documentary filmmaking, including storytelling, shooting techniques, field production and handling “hot situations.” Sessions
will feature hands-on exercises, screenings and guest lecturers.
Blending cinema-verité footage with interviews, bringing an idea
from written proposal to production and editing techniques will
be discussed. Students at all phases of production are encouraged
to bring in and develop their own documentary projects to
benefit from class feedback and support. Among the goals of this
course is to hone short segments of a documentary-in-progress
or create a trailer for a feature documentary based on each
student’s own concepts.
PREREQUISITE: CFC-3027, Creating a Documentary Film, or
practical experience in filmmaking.
NOTE: Students must have access to their own editing software.
FREDERICK RENDINA, producer, director. BFA, Emerson College.
Clients include: History Channel, Biography Channel, National
Geographic Television, A&E, Associated Press Television News,
Discovery, United Nations, Link TV, RAI Italy, NHK Japan, PBS.
Projects include: Wide Angle series; Investigative Reports; 5 Takes
series; National Geographic on Assignment. Films include: To Educate
a Girl; Turning the Tide: Tsunami Volunteers; Utopia; A Gang for Good;
After the Gun; Kabi; Let the Good Times Roll…Again; Secrets of the Soul.
Awards include: National Endowment for the Arts; New York
State Council on the Arts; Best Screenplay, Nantucket Film
Festival; Tony Cox Screenwriting Award; Bronze Apple, National
Educational Film and Video Festival; Best Online Series, Magazine
Publishers of America; South Asian Journalist Association Award;
Panavision New Filmmaker Grant. The instructor’s work can be
viewed at: frederickrendina.com.
Cinematography
Directors: Previsualization, Cinematography
and Lighting
CFC-3037-A
Thurs.; Sept. 22–Dec. 1
Hours: 7:00 pm–10:00 pm
10 sessions; 3 CEUs
This course will explore the collaboration between director and
cinematographer through a hands-on approach to digital filmmaking. Learning how to translate a text visually is more than
learning the differences between subjective and objective camera
angles. We will take ideas, words, actions, emotional subtext, tone,
and other forms of nonverbal communication, and render them
in visual terms. Shot design, composition, rhythm, continuity,
lensing, perspective, blocking and color, and how light shapes
perception are all creative options available to interpret the director’s vision. Students will produce and direct scenes from their
scripts (original or adapted) with professional actors. Advanced
digital camera and lighting will be used in class.
PREREQUISITES: CFC-1003, Digital Filmmaking I, and CFC-3036,
Cinematography: Lighting and Advanced Techniques, or a show
reel that indicates a basic proficiency in filmmaking.
Introduction to Production Design
CFC-1082-A
10 sessions; 3 CEUs
This course will focus on production design for the film industry.
We will examine the responsibilities and collaborations of the
production designer in detail. Particular emphasis will be placed
on understanding the psychology of film characters and how this
influences the design of the set. Through visual research, scene
analysis, photography and drawing, students will work on exploring
and creating the production design for a cinematic scene.
Sapienza Universita Di Roma. Film projects include: The Life Aquatic
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Lighting for HD
CFC-1529-A
Hours: 7:00 pm–10:00 pm
10 sessions; 3 CEUs
Training your eye to see and interpret the world of high definition,
from both technical and aesthetic perspectives, will be the focus
of this course. Students will develop their skills and personal style
with in-class production settings. Areas of study will address theory,
color, composition, aesthetics, lighting and camera characteristics.
A hands-on approach is devised to familiarize students with
the operations and procedures of high-definition cameras and
motion-picture lighting. This course is designed to give students
the tools and knowledge necessary to advance in their study of
high-definition cinematography and lighting in film and video.
LARRY J. HILLIER, cinematographer, lighting director. BFA,
School of Visual Arts. Film and television projects include:
August the First, It Rises in the East, Reach Out, Dittydoddle Works.
Clients include: HBO, Virgin Records, Showtime, Marble Hall
Productions, Darkside Productions.
Makeup for Film and Television
CFC-2239-A
10 sessions; 3 CEUs
This course will explore various makeup approaches for working
in the entertainment industry. We will investigate topics such as
natural beauty makeup, male grooming, creating and covering
tattoos, special effects and period makeup. Students will apply
makeup techniques that are essential for both the stage and
screen. Manual brush, sponge applications, airbrush technology
and body makeup will be discussed, demonstrated and practiced.
JENAI CHIN, makeup and body artist. BFA, School of Visual Arts.
Film and television projects include: The Amazing Spider-Man 2,
The Bounty Hunter, Queens of Pop, Nurse Jackie, College Humor, Make
Me a Supermodel, Win Win. Editorial projects include: The New York
Times, ESPN The Magazine Interview, New York magazine, Oprah, GQ
Style, Inked. The instructor’s work can be viewed at: jenaichin.com.
READY TO REGISTER?
Details on page 4
Special FX Makeup and Silicone Prosthetics
for Film and Television
POSTPRODUCTION COURSES
CFC-2243-A
10 sessions; 3 CEUs
Bring horror, sci-fi and fantasy characters to life. Learn how
professional Hollywood makeup artists create fictional characters
for TV and feature films. In this course, students will be introduced
to the basic gore-and-accident-victim effects as well as some of
the groundbreaking silicone prosthetic makeup FX techniques.
Demonstrations will include how to lifecast a model and the
proper uses of unusual mold-making and casting materials.
equipment and facilities outside of class time unless indicated in the
course description.
FIC-2436-A
10 sessions; 3 CEUs
The Art of Editing
CFC-2017-A
10 sessions; 3 CEUs
$400; audiovisual fee, $75
This course will address the strategies and principles integral to
the art of narrative filmmaking. It will examine the distinctive concepts, skills, processes and editing grammar essential to creative
postproduction. Through lectures, screenings and shot-by-shot
analysis, we will examine a wide-ranging group of motion-picture
styles and the use of editing techniques that enhance them.
A different topic will be explored weekly through films that include
Edge Codes; All That Jazz; The Passion of Joan of Arc; The Wild Bunch;
Jaws; 2001: A Space Odyssey; Koyaanisqatsi; Man with a Movie Camera
and Dog Star Man. In addition, we will discuss examples of
editor/director collaborations of such editors as Dede Allen,
Thelma Schoonmaker, Michael Kahn, Walter Murch and Pietro
Scalia. Legendary works of editors responsible for the advancement of editing language and techniques will be examined in
detail. This is an indispensable course for those newly trained in
editing protocols and not yet experienced in the techniques of
creative editing, as well as editors interested in learning more
about their craft and cineastes interested in how films are made.
Editing terms and handouts elaborating on subject matter will
be distributed throughout the semester.
VINCENT LoBRUTTO, film editor, author. BFA, School of Visual
Arts. Professional experience includes: Editor, CinemaEditor. Books
include: By Design: Interviews With Film Production Designers; Selected
Takes: Film Editors On Editing; Stanley Kubrick: A Biography; Sound-OnFilm: Interviews With Creators of Film and Sound; Principal Photography:
Interviews With Feature Film Cinematographers; Martin Scorsese: A
Biography. Publications include: MovieMaker, Films in Review, Film
Quarterly. Award: Robert Wise Award, American Cinema Editors.
Color Correction for Film
CFC-1253-A
The fundamentals of color grading and finishing with DaVinci
Resolve software will be covered in this course. Students will work
on a real-world project and explore the process of color grading
from picture lock to final delivery. Topics include: creating a look
for a project, enhancing storytelling by drawing the eye, scene
matching and project management. The course will focus on both
the technical and aesthetic requirements of finishing projects for
broadcast, commercial and theatrical release. Prerequisites: A
working knowledge of the Macintosh computer operating system
and a basic knowledge of nonlinear editing software.
ROB SCIARRATTA, senior colorist, Company 3. BS, Rochester
Institute of Technology. Film and television projects include:
Purge 3, Conan the Barbarian, It Might Get Loud, The Texas Chainsaw
Massacre, The Piano, The Ref, Species, Rob Roy, Fresh, Farewell My
toll-free tel. 877.242.7200 :: 73
FILM AND VIDEO
Concubine, The Night Of. Commercials spots for: BMW, Nissan,
M&M’s, Cialis, Sprite, Lexus, Gatorade, Coke, Mercedes, AT&T,
Fidelity, Maybelline. Music video projects include: Beyonce, Taio
Cruz Krewella, , Mariah Carey, Tom Petty, U2, Kid Rock. Awards
include: Best Color Correction, International Monitor Award.
Digital Compositing Workshop
ANC-3181-A
Hours: 6:00 pm–10:00 pm
This course will cover digital animation production. Students will
learn tools and techniques to create digital movies, motion graphics, effects and animation for broadcast and the web. Projects are
designed to give students production and interface knowledge
covering Adobe Photoshop, Illustrator, Flash and After Effects.
Live action, digitized hand-drawn images and photographs will be
assembled in sync to sound. Compositing exercises will cover a
wide range of features. Green screen, motion tracking, stabilization,
timeline effects, 2D and 3D space, cameras and lights are some of
the motion graphics techniques we will use. Methods of digitizing
traditional animation will also be included.
NOTE: Students have exclusive use of a computer during scheduled
class hours. Lab time is included in the instructional hours; additional
ALBERT M. PARDO, animation director, animator, character
designer, storyboard and layout artist, compositor. BFA,
School of Visual Arts. Animation projects include: Sesame Street,
Electric Company, SeeMore’s Playhouse, Friday (MTV), McGruff the
Crime Dog, Don’t Let the Pigeon Drive the Bus, Boynton Time. Web
work and commercials include: Planters, Looney Tunes, MilkBone, America’s Health Products, Uninvited Loud Precision Band
(Sandra Boynton), Yoplait Gogurt, Trix, Cookie Crisp, Cocoa
Puffs, Honey Nut Cheerios, Lucky Charms.
Final Cut Pro
CVC-2551-A
Fri., Sept. 30–Nov. 18
Hours: 6:00 pm–10:00 pm
The key editing features of Apple Final Cut Pro X, including
compositing, titles, motion graphics capabilities and digital special
effects, will be explored in this course. Students will edit assignments
and complete exercises that address narrative structure, rhythm
and pace in the editorial process. The grammar and aesthetics
of editing in the visual storytelling process will be emphasized.
operating system.
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Final Cut Pro
CVC-2551-B
Hours: 10:00 am–2:00 pm
ANDREA ODEZYNSKA, filmmaker. Films and videos include:
Felt, Feelings and Dreams; The Whisperer; Still the River Flows; Dora
Was Dysfunctional. Screenings include: HBO, Bravo, Showtime, La
Mama. Film festivals include: Through Women’s Eyes International
Film Festival, Hamptons Film Festival, Rotterdam Film Festival,
Princeton Environmental Film Festival, Kansas City Film Festival,
Independent Spirit Festival. Awards and honors include: National
Endowment for the Arts; New York State Council on the Arts;
Kodak Corporation; Robert Wise Foundation; Best Short Feature,
Princeton Environmental Film Festival. The instructor’s work can
be viewed at: odezynska.com.
Adobe Premiere Pro
CVC-2561-A
Hours: 6:00 pm–10:00 pm
This course will introduce Adobe Premiere Pro editing software by
exploring the grammar and aesthetics of editing through a visual
storytelling process. Students will explore layout, importing,
workflow and shortcuts, as well as a variety of techniques such as
contrast, parallelism and montage. Editing exercises that address
editorial and narrative structure, rhythm and pace will be part of
the course. Each week students will work with a different aspect
of the Premiere environment.
operating system.
Avid Editing
Avid Editing
CVC-3052-B
Hours: 6:00 pm–10:00 pm
LANCE CAIN, filmmaker, editor. Clients include: ABC Disney,
HBO, Vice, Showtime, Esquire TV, Lifetime, Bravo, A&E, HGTV,
The History Channel, VH1, NatGeo, E Channel, The Sundance
Channel. Television credits include: A&E in Concert: Paul McCartney
in Red Square; House of DVF; The Rachel Zoe Project; Next Step Reality;
Dark Horse Nation; House of Fab; American Restoration; Dual Survivor;
Anatomy of a Scene; HBO: Boxing; Conversations in World Cinema. Film
credits include: My Last Day Without You, A Few Days After, Friday
Night Tyke, John The Cop. Awards include: Emmy Award, ACE Award.
Advanced Editing
Pro Tools
CVC-3157-A
Hours: 6:00 pm–10:00 pm
Digital audio workstations are here to stay. Computers make sound
track production easy and inexpensive. Pro Tools is the leading
software in sound production. This course will demonstrate how
to digitize dialogue, create sound effects, foleys and music, and
how to synchronize these sound elements with images. The uses
of digital effects and equalizers, to balance and improve sound
quality, will also be covered. In addition to hands-on projects,
sound production examples from documentaries, features and
commercials will be screened and discussed.
operating system.
PAUL GOODRICH, sound designer; mixer; owner, Merlin Studios.
Films include: Harry Potter and the Goblet of Fire, Bunny, God Has a
Rap Sheet, Artists of Hell’s Kitchen, Quality of Mercy, Diary of a Young
Girl, Jerky Boys II. Clients include: MTV, ABC, Sony, Scholastic,
Moby, Capitol Records, Bantam Doubleday Dell, Random House,
Syfy, Time Warner, Lucasfilm Ltd. Awards include: Gold Record,
Platinum Record, Grammy, Academy Award.
CFC-3561-A
Hours: 6:00 pm–10:00 pm
Focusing on media management, color correction, time re-mapping
and multi-clip editing, this lecture-based course explores the
technical and creative storytelling solutions when editing a film.
Recognizing problems in a scene, character development and
sequence/structure issues will all be explored. The course will
encompass all film forms, including narrative, documentary
and commercials music videos, as well as what is constant in all
good work.
PREREQUISITE: CVC-2551, Final Cut Pro, or CVC-2561, Adobe
Premiere Pro, or CVC-3052, Avid Editing.
toll-free tel. 877.242.7200 :: 75
FILM AND VIDEO
CVC-3052-A
Hours: 6:00 pm–10:00 pm
For features, commercials, documentaries and television, Avid
is the preferred editing system of many filmmakers. Using Media
Composer software, this course will examine the principles, terms
and concepts of random-access digital editing. Students will work
with the Avid system to edit assignments and exercises that address
editorial and narrative structure, rhythm and pace.
operating system.
PAT CARPENTER, senior editor, creative director, Rip Cord
Creative. BS, St. John’s University. Professional experience
includes: Senior editor, creative director, 1619 Creative, Turnkey
Solutions; senior editor, Definition 6. Editor: Adult Rappers. Awards
include: Gold Interactive Award, CLIO; Promax Award.
WRITING COURSES
The Screenwriter: Finding and Developing
Your Inner Voice
CFC-2136-A
This introductory course is designed to discover how to best find
and tap into one’s unique voice. Students will learn to view writing
as a process, an ongoing developing skill and an art form to be
practiced and refined. Discussions will focus on creativity and how
it is affected by everyday experiences, spirituality and how we
choose to live our lives. The goal is to realize a greater understanding of what it means to be creative and productive through
our writings. Students will be assisted in manifesting their
ideas into a first-draft screenplay. There will be guest lecturers
(directors, actors and writers) and assigned readings.
GARY RICHARDS, screenwriter; playwright; director. BS, Union
College. Full-length plays include: The Root, Dividends, Children at
Play, Scrambled Eggs, Second Summer, Slambook, Tropical Depression,
Shiva. Screenplays include: Free of Eden, Stag, In Scoring Position,
Beating Hearts, Doin’ Time, Butch and Kiki, Two Regular Guys, Garage
Band. Awards include: Best Writing, Best Play, Dramalogue Award;
Playwriting Award, Colleagues Theater Company.
Writing for Episodic Television
CFC-2443-A
The determined freelance writer is always working on a new
script. Access to the powers that be, networking with fellow writers
and “who you know” are important factors in getting a break.
The most important first step, however, is writing a script that’s
worth reading. In this course, you will write your own calling card,
a sample of your work. In industry parlance, this calling card is
called the “spec script,” written on speculation, not commissioned
or paid. We will examine how to choose a TV show to spec, what
your episode should be about, how to come up with story ideas,
researching a show, writing accurate character voices, incorporating your original voice, completing a beat sheet and outlining
a script.
SHERESE ROBINSON, screenwriter. BFA, School of Visual Arts;
MFA, Columbia University. Professional experience includes:
Scriptwriter, All My Children. Award: Phillip Morris Film Grant.
The instructor’s work can be viewed at: limebeat.com.
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Writing the Feature Film
CFC-2843-A
This course is designed for those with a solid understanding of the
principles of feature-length screenwriting and who have an existing
script or a new script they want to develop. We will focus on creating a commercially viable premise and storyline that can sustain
an entire script, including developing characters with emotional
depth, and creating believable dialogue. Techniques for learning
and perfecting log lines and pitches will also be incorporated.
PREREQUISITE: CFC-2136, The Screenwriter: Finding and
Developing Your Inner Voice, or equivalent.
GEORGE LaVOO, director, screenwriter, producer. BFA, New
York University. Film projects include: A Dog Year; Blood Monkey;
Real Women Have Curves; By Reason of Insanity: Hugh Kelly; Getting
to Know You; Frisk; Tarantella. Film festival screenings include: San
Sebastian International Film Festival, Sundance, Berlin, Venice,
London, Havana, Rotterdam, Toronto. Awards and honors include:
Audience Award, Sundance Film Festival; Ten Producers to Watch,
Variety; FIPRESCI Special Jury Award, Stockholm Film Festival;
Humanitas Prize; National Board of Review; New Directors/New
Films, Museum of Modern Art.
Screenwriting: From Headlines to Hollywood
CFC-2741-A
This course will instruct students on how to choose news stories
that can be developed into saleable Hollywood screenplays. We
will examine how to select intriguing story lines and compelling
characters in visual settings and how to research and develop
these news stories into structured three-act outlines, and then
to a completed script. The goal is to dig behind the headline into
the human story and make it come to life as a screenplay in the
tradition of news-inspired movies, such as In Cold Blood, Argo, All
the Presidents Men, Nightmare on Elm Street, Black Mass, Bridge of
Spies and The Walk. Guest lecturers will include journalists, screenwriters, producers and directors. There will be assigned books,
journalism, and screenplay readings.
DENIS HAMILL, screenwriter, journalist, novelist. Professional
experience includes: Columnist, New York Daily News, New York
Newsday, Boston Herald American, Los Angeles Herald Examiner, New
York magazine; staff writer, Village Voice. Screenplays include:
Tomboy, Under New Management, Joe Otting; Last Laugh, Critical
Condition, TURK-182!, A Woman Like That, Wallenberg, Under New
Management, DIRTY: The Mafia Cops, Fork in the Road, Last Laugh,
Guardian Angels, Foreign Affair, Joy Ride, Diplomatic Immunity, Call me
a Cop, Bad Boys, Machine, Angel, Vice Versa. Author: Ten Spot, Sins
of Two Fathers, Empty Stockings: A Brooklyn Christmas Tale, Long
Time Gone, Fork in the Road, Throwing 7s, Three Quarters, House on
Fire, Machine, Stomping Ground. Award: Meyer Berger Award for
Best New York City Reporting, Columbia University; Associated
Press Award.
Writing an Animation Feature-Film Screenplay
Exposing Stories
VNC-2347-A
NEW
This course will explore the art of storytelling and the art of
photography as a collective means of communication. How do
words affect an image? When encountering a photograph with
a story, do we read first or look first? Through a wide range of
in-class assignments and individual projects, students will be
encouraged to both write creatively and make photographs or
produce work in other visual mediums. Critiques will be given
throughout the semester. The goal of the course is to explore the
way that stories and photographs can intertwine, and for students
to begin creating a thoughtful and cohesive body of work relating
to those ideas.
STACY RENEE MORRISON, photographer. BA, Rutgers University;
MA, New York University. One-person exhibitions include: Fine
Arts Center Galleries, University of Rhode Island, Kingston; York
Quay Art Centre, Toronto; Palazzetto Eucherio San Vitale, Parma.
Group exhibitions include: Michael Mazzeo Gallery; San Francisco
Camerawork; Center for Photography at Woodstock, NY; Gregory
Lind Gallery, San Francisco; Sol Mednick Gallery, University of
the Arts, Philadelphia. Publications include: Providence Journal,
Westerly Sun, Mercury, Photography Quarterly, Mesh, Motif. Grant:
Rhode Island Council for the Humanities. The instructor’s work
can be viewed at: stacyreneemorrison.com.
ONLINE COURSE
OLC-2623-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
In this fast-paced practicum course, students will come in with
an idea for a new screenplay and will leave with a completed first
draft of a script. Pages submitted each week in the booth will
receive supportive and thoughtful critique from the instructor
and fellow students. Along the way, lively, multimedia lectures on
particular elements of the form and practical advice about the
business will be given. Both new and experienced screenwriters are
welcome. Let’s have a screenwriting blast together this semester.
Scout’s Honor! (Snipe Hunt and Becky’s Beaver); A Brightness Over
New Jersey; Women Behind the Bush. Awards and honors include:
Daytime Emmy Award; Tisch School of the Arts Writing Award,
New York University; Kennedy Center Award; Zarkower Award,
Hunter College; Playwriting Award, American Globe Theater.
toll-free tel. 877.242.7200 :: 77
FILM AND VIDEO
ANC-2137-A
How to transform an original idea into a strong story treatment
and then a final script is the focus of this course. Each student will
take his or her concept and develop it into the 12 steps of a hero’s
journey by learning how to create strong characters (hero, villain,
mentors and sidekicks), compile a mythology of rules for their
special worlds, and then incorporate those ingredients into a strong
story. We will discuss how to keep the project both specific and
broad, unique yet familiar (a mind-boggling reality in Hollywood),
in order to achieve the ultimate goal: franchise status. Throughout
the development process, students will strengthen their stories
and explore how to monitor the marketability of their characters,
with an emphasis on honing dialogue, so that it appeals to both
children and adults. Students will complete this course with a polished animation script, a command of the development process,
and a much fuller understanding of the animation film industry.
JAMES GRIMALDI, screenwriter. BA, University of Toronto;
MSW, Yeshiva University. Professional experience includes: Film
development, 20th Century Fox, New Line Cinema. Clients include:
Disney, Hyperion Publishers, Imagineering. Screenplays include:
Bubbles, Faster!, Movable Village. Co-writer: Before the Bomb.
Publication: Variety. Awards and honors include: Cannes Film
Festival, Slamdance, International European Independent Film Fest.
ACTING AND VOICE-OVER COURSES
Acting
CFC-1076-A
From Stanislavski to Strasberg . . . to you, this course will introduce
actors and directors to the technique of Method Acting. You will
work toward recognizing the analogy between your personal
journey and the characters you bring to life as an actor, writer,
director and artist. The Method approach creates a common
artistic language for all involved to benefit from, and gives clarity
to the work by embracing the authentic self that ultimately
becomes universal.
MIHAELA MIHUT, actress. BA, MFA, New School University.
Acting credits include: Manipulation, The Bear, Perkins’ 14, Ben Again,
The Visitor, Art People, Last of the Red Hot Lovers, The Bald Soprano,
Hunting Cockroaches. Honor: Lifetime member, The Actors Studio.
The instructor’s work can be viewed at: mihaelamihut.com.
Collaborative Acting Techniques
CFC-2833-A
8 sessions; 2 CEUs
$280; professional actors’ fee, $75
The actor-director relationship is the fundamental collaboration
that brings life to the writer’s script, enlightens the director’s
vision and illuminates the actor’s work. No matter what acting
technique one utilizes, this course will offer writers, directors and
actors the tools to communicate their perspectives into a cohesive
voice. For the writer’s script to be realized and for the director’s
vision to be satisfied, the actor’s process must be understood
through a common language. Through this language, a delicate
dance begins by challenging one another to deliver their best
work and to bring balance, energy and uniqueness to the film.
When writer/director/actor share a common language, a quality
film will result.
MIHAELA MIHUT, actress. BA, MFA, New School University.
Acting credits include: Manipulation, The Bear, Perkins’ 14, Ben Again,
The Visitor, Art People, Last of the Red Hot Lovers, The Bald Soprano,
Hunting Cockroaches. Honor: Lifetime member, The Actors Studio.
The instructor’s work can be viewed at: mihaelamihut.com.
78 :: sva.edu / ce
Comedy Improvisation
CFC-2276-A
Improvisation is the jazz of theater. It’s spontaneous and creative
and an essential acting and life skill. This course will focus on
short-form comedy improv. Whether you use it to improve
your commercial and theatrical auditions, incorporate it into your
rehearsal process, become a better writer, or feel more at ease
when speaking in public, improv will free you up and “get you out
of your head.” In a supportive and energetic group atmosphere,
we will examine the basic elements of improvising a scene and
developing characters. Discover the secret of making it look easy.
NOTE: Please wear comfortable clothing and shoes to all sessions.
AUDREY RAPOPORT, actor; director; company member, The
Groundlings, Los Angeles. BS, Boston University. Television and
film credits include: Days of Our Lives, As the World Turns, Cheers,
According to Jim, Grounded for Life, The Accidental Tourist, I’m With
Her, Thirteen Days, I Love You To Death. Theater credits include:
Sight Unseen, Good People, Hay Fever, Season’s Greetings, Down South,
I Am Rapoport, They Shoot Horses Don’t They?, Cold Feet, Supper
Club of Lost Causes, Some Girls. Awards include: Drama-Logue
Award, Los Angeles Drama Critics Circle; Natalie Schafer Award,
LA Weekly.
Comedy: In Camera and In Performance
DTC-2451-A
NEW
Designed to introduce the actor/director to the specific performance challenges and practices for comic script material, in this
course students will work on sharpening their performance
practices. Network sitcom (single and multi-camera), script analysis
and characterization, scene blocking, romantic comedy and SNL
sketch comedy will all be covered. We will begin with timeless,
comic fundamentals that provide a foundation for comic performance and directing practice. Students will perform network
scenes for two or three characters, which will be taped and
reviewed. We will then turn to romantic comedy, a limitless
source for the comic imagination. Finally, we'll explore the world
of sketch comedy and see why it is diverse and unexpected, yet
based in solid comic fundamentals. The course draws on successful comic performance models, such as Two and a Half Men, Two
Broke Girls, Seinfeld, Cheers and Taxi. Film models include: Chaplin,
City Lights; Brooks, Young Frankenstein; Allen, Love and Death. SNL
sketch comedy material includes Jack Handey: Vlad the Impaler;
Anne Boleyn and Mousetrap Seminar.
RICHARD SCANLON, theater director, network TV acting coach.
MA, Catholic University of America. Professional experience
includes: Producer, director, Lou Gehrig, National Pastimes
Productions; acting coach, The Sopranos; director, Damages, Hudson
Theatre, Los Angeles. Awards and honors include: Advertising Age;
Eugene O’Neill National Playwrights Conference; Lambda Iota
Tau, International English Honor Society. richardscanlon.com.
Voice-Over: Workshop I
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Voice-Over: Inside the Industry—Learn How to Find
Your Voice
CFC-1443-A
The voice-over industry has changed dramatically. With the
explosion of voice-over casting websites on the Internet, and the
easy and inexpensive technology available to record at home,
interest in this booming field has never been greater. This course
will focus on the essential elements to become a voice-over artist
and point you toward your authentic sound, working intensively
with various types of copy most conducive to your personality.
You’ll get the inside scoop on current trends in a fun and nurturing
workshop environment. Students will have the opportunity to
work in a professional sound booth.
NOTE: Please bring a blue or colored pen to mark copy,
a highlighter and a USB drive to the first session.
Boot Camp
CFC-1476-A
Hours: 10:00 am–4:00 pm
2 sessions; 1 CEU
toll-free tel. 877.242.7200 :: 79
FILM AND VIDEO
CFC-3014-A
New York City is the country’s largest and busiest center for voiceover production. Success in this competitive market can mean
earning thousands of dollars in session fees and high residuals for
voice-over talents. Learn the essential competitive skills that can
win voice-over jobs with highly productive training sessions held
in a working recording studio, utilizing actual voice-over copy for
national commercials, corporate/educational projects and narratives,
animation work, television/radio promos, trailers and audio books.
Learn necessary professional audition skills and recording session
techniques, vocal textures/attitudes, copy interpretation and
performance execution. You’ll also receive an introduction to the
business of voice-overs, focusing on talent unions, talent agents,
producers and casting directors, and also listen to a variety of talent
demo reels, learning the key essential elements of a successful demo
reel. This course will be held in a midtown state-of-the-art sound
recording studio. Students will receive their recorded readings at
the conclusion of the course.
Voice-Over: Workshop II
CFC-4014-A
This advanced voice-over workshop is designed for aspiring voice
talents with previous voice-over/acting training or professional
experience. Learn highly competitive voice-over performance
techniques, held in a working recording studio, by recording
a variety of actual voice-over copy for national commercials,
narrations, promos/trailers, animation, and many other script
styles. All essential voice-over performance/acting techniques and
elements will be covered, preparing students for the competitive
voice-over craft industry, while preparing them to eventually
record a successful demo reel. This course will be held in a midtown state-of-the-art sound recording studio. Students will receive
their recorded readings at the conclusion of the course.
PREREQUISITE: CFC-3014, Voice-Over Workshop I, or CFC-1443,
Voice-Over: Inside the Industry—Learn How to Find Your Voice,
or equivalent.
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Feminist Internet Performance Art Studio
VSC-2716-A
Can you create performance art on Instagram? What about a
dystopian tutorial on YouTube? Can your tweets become poetry?
We will explore these questions through rigorous experimentation
in the studio, and the development of individual and group interdisciplinary projects. Over the course of the semester we will examine
such themes as Internet surveillance, networked performances,
glitch feminism, Internet poetry, and 2L Virtual Worlds. We will
take a critical approach through various readings, which students
will apply to their projects and creative process. Readings will
include bell hooks, Judith Butler, José Esteban Muñoz and Anita
Zarkeesian. We will explore and discuss artists such as Juliana
Huxtable, Jacolby Satterwhite, niv Acosta, Wafaa Bilal, Legacy
Russell and Emma Sulkowicz.
HALEY BUESCHLEN, visual artist. MFA, New School University.
Group exhibitions include: The Photographer’s Gallery, London;
International Center for Photography Triennial; Hasted Kraeutler;
Siskind Gallery, Rochester, NY; REVERSE; State Hermitage Museum,
St. Petersburg; Pingyao International Photography Festival, China;
Temple University, Philadelphia; Milk Gallery; Bangalore National
Gallery of Modern Art, India. Collections include: International
Center for Photography Library; Harvard University Fine Arts
Library; Robert B. Haas Family Arts Library, Yale University.
Publications include: Time, BLOUIN ARTINFO. Awards include:
Franklin Furnace Fund Grant; artist residency, Smack Mellon.
The instructor’s work can be viewed at: haleybueschlen.com.
VSC-2723-A
The Fourth Dimension: Video, Space and the
Broken Screen
AHC-2388-A
This course offers pathways through the visual language of
nonlinear narratives, split screens, fragmentary visual planes and
their relationships with space and spatial design. We will read, view
and discuss contemporary examples from selected projects made
by artists, filmmakers, designers and architects that speak to these
issues. Through critical discussions students will gain a fresh look
at new practices of art-making that make use of emerging technologies. Topics include: object and projection, video and sound
installation, multichannel video work, digital media and architectural space, non-traditional spaces, and video art in public spaces.
The course is guided by the work of artists such as Bruce Nauman,
Joan Jonas, Doug Aitken, Lars Von Trier, Jane and Louise Wilson,
Olafur Eliasson, Pipilotti Rist, Eija-Liisa Ahtila, Robert Wilson,
Douglas Gordon and Matthew Barney, as well as by concepts
and pronouncements by critics and visionaries such as Rosalind
Krauss, Lev Manovich, Walter Benjamin, Hans Ulrich Obrist and
Rem Koolhaas.
OFRI CNAANI, fine artist. MFA, Hunter College. One-person
exhibitions include: The Metropolitan Museum of Art; MoMA
PS1; BMW Guggenheim Lab; Fisher Art Museum, University of
Southern California, Los Angeles; Haifa Museum of Art, Israel;
Herzliya Museum of Contemporary Art, Israel; Network of
Lombardy Contemporary Art Museums, Italy; Kunsthalle Galapagos;
Andrea Meislin Gallery; Braverman Gallery, Tel Aviv; Pack Gallery,
Milan. Group exhibitions include: The Kitchen; Moscow Bienniale
of Contemporary Art; Bronx Museum of the Arts; Kunsthalle Wien;
Arnolfini, Bristol, U.K.; Tel Aviv Museum of Art; Israel Museum,
Jerusalem; International Triennale of Contemporary Art, Prague.
Awards and honors include: Six Points Fellowship, America-Israel
Cultural Foundation; Research Award, Hadassah-Brandeis Institute;
Artist in the Marketplace, Bronx Museum of the Arts; Philip and
Muriel Berman Foundation. The instructor’s work can be viewed
at: ofricnaani.com.
READY TO REGISTER?
Details on page 4
toll-free tel. 877.242.7200 :: 81
FILM AND VIDEO
PDC-3477-A
CINEMA STUDIES
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fine arts
FINE ARTS
CORPORATE TRAINING
¿HABLAS DISEÑO?
INFORMATION SESSION
One night: Mon., Aug. 22
6:30 pm–8:30 pm
Are you considering a course this semester but do not know which
instructor might best complement your learning style? What area of
the fine arts do you want to explore? Spend an evening with some
of our continuing education fine arts faculty; see their work and
their students’ work, hear them discuss it, and let them answer
your questions on how to begin working in the fine arts.
Street, room 602C, 6th floor. Session begins promptly at 6:30 pm.
MODERATOR: STEVE DEFRANK, sculptor.
COURSES IN THE FINE ARTS ARE LISTED UNDER
DRAWING page 83
PAINTING page 87
SCULPTURE page 94
INTERDISCIPLINARY AND NEW MEDIA page 99
PRINTMAKING page 102
JEWELRY page 108
DRAWING COURSES
“Drawing from the Collection” Marathon at The
Metropolitan Museum of Art (Greco-Roman)
FIC-1126-A
Sun., Sept. 25
NEW
Hours: 9:45 am–4:00 pm
1 session; $120
This one-day marathon of virtually non-stop drawing at The
Metropolitan Museum of Art will start in the Greek and Roman
galleries and proceed to other collections of work from the
Mediterranean Basin. Working quickly and energetically in sketchbooks with various types of pencils, we will concentrate on line
and shape. The museum will serve as a source of inspiration and
information for our art. This workshop is a drawing intensive, and
work will be done at a fast pace.
NOTE: Please bring a hardcover bound sketchbook (approximately
11x9"), that has a spine that allows it to lay flat open across a
spread of two sheets; soft, dark graphite pencils (such as ebony
or 3 to 6B pencils) and an open attitude. Open to all levels.
PETER HRISTOFF, fine artist. BFA, School of Visual Arts; MFA,
Hunter College. One-person exhibitions include: Hagia Sophia
Museum, Istanbul; Bucheon Gallery, San Francisco; Yapi Kredi
Cultural Center, Istanbul; Shea & Bornstein Gallery, Santa Monica;
David Beitzel Gallery; CAM Gallery, Istanbul; Mincher/Wilcox
Gallery, San Francisco. Group exhibitions include: Katonah Museum
of Art, NY; Solomon Fine Arts, Seattle; Lohin-Geduld Gallery; George
Billis Gallery. Collections include: The Metropolitan Museum of Art.
Publications include: Time Out Istanbul, Village Voice, The New York
Times, Artforum, Milliyet, ARTnews, Art in America. Awards and honors
include: New York Foundation for the Arts; Moon and Stars
Project Grant; Joan Mitchell Foundation; artist-in-residence, The
Metropolitan Museum of Art.
“Drawing from the Collection” Marathon at
The Metropolitan Museum of Art (Byzantine,
Romanesque, Gothic)
FIC-1127-A
Sun., Dec. 4
NEW
1 session; $120
Metropolitan Museum of Art will start in the Greek, Roman and
Byzantine galleries and proceed to other parts of the museum.
Working quickly and energetically in sketchbooks with various
types of pencils, we will concentrate on line and shape. The museum will serve as a source of inspiration and information for our
art. This workshop is a drawing intensive, and work will be done
at a fast pace.
toll-free tel. 877.242.7200 :: 83
FINE ARTS
The School of Visual Arts is proud of its long history as a proving
ground for new voices in the field of fine arts. In our studios and
workshops, artists develop new means of expression.
Representation, abstraction, experimentation, line, color, form
and perspective can all be explored as you find your own special
vision. The reasons for taking a fine arts course at the School of
Visual Arts are as varied as the people who study with us. Some
do it for fun. Commercial artists study the fine arts to refocus their
thinking. Exhibiting fine artists come to us to learn how to use new
tools or improve a technique, and create work in our facilities.
Our faculty of artists teaches a core curriculum in drawing, painting,
sculpture and printmaking. In addition, we offer courses in jewelry
making, blacksmithing and professional practices
Advanced courses examine narrative and abstract concepts as they
relate to your work. At all stages of creative development, SVA’s
community is a place to learn and grow in the fine arts.
Figure Drawing I
FIC-1131-A
This course will emphasize the primary facets of drawing the
figure that have given it an enduring and prominent place in art.
Drawing and representing the figure will lead to a better understanding of line, gesture, proportion, volume and composition.
Concept, observation, character and materials will be discussed
in relation to portraying the human figure. Classical traditions as
well as contemporary examples of figure drawing will be explored.
All drawing media are welcome, including ink and watercolor.
NOTE: Please bring a medium-tooth drawing pad and newsprint
pad (18x24"), medium and soft charcoal, assorted B pencils,
a kneaded eraser and a white plastic eraser to the first session.
ANTON VAN DALEN, fine artist. Amsterdamse Grafische School.
Represented by: P.P.O.W. Gallery. One-person exhibitions include:
Cleveland State University; Exit Art; Edward Thorp Gallery; James
Graham Gallery; University of Massachusetts, Amherst; Tyler
Gallery, Temple University, Philadelphia. Group exhibitions
include: Dia Foundation; Whitney Museum of American Art; New
Museum of Contemporary Art; Art Institute of Chicago; The
Drawing Center; UBS Art Gallery; Institute of Contemporary Art,
Boston. Performance: Avenue A Cut-Out Theatre at Spaces,
Cleveland; New-York Historical Society; Aachener Kunstverein,
Germany; Fijnhout Theater, Amsterdam; Museum of Modern Art.
Public art projects include: New York City Board of Education; P.S. 20;
Percent for Art Program, New York City Department of Cultural
Affairs; Metropolitan Transit Authority, Nevins Street Station.
The instructor’s work can be viewed at: antonvandalen.com.
Figure Drawing I
FIC-1134-A
This course takes the fear out of drawing the figure. Whether
this is your first time drawing the figure or you want to hone
your basic skills, this course is for you. Often, students will say,
“Oh drawing the figure is so hard...” It’s not; it is no different from
drawing cubes and spheres. Through weekly exercises and a lot of
individual attention, we will work on direct observation, noticing
that everything has a relationship to something else. Plot the
points and put the pieces of the puzzle together and you’ve got
it! Using the model as subject matter, students will learn the fundamentals of drawing. This course will focus on each student’s
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personal development. Employing a variety of materials, straightforward consideration of a subject and unconventional approaches,
students will explore the elements to create successful drawings.
NOTE: Please bring a newsprint pad (18x24"), vine charcoal, soft
charcoal pencils and Crayola crayons to the first session.
JUDY MANNARINO, fine artist. BFA, with honors, School of Visual
Arts. One-person exhibitions include: Fiction/Nonfiction Gallery;
Penine Hart Gallery; Addison/Ripley Gallery, Washington, DC;
LedisFlam Gallery. Group exhibitions include: Elliot Smith Gallery,
St. Louis; Die Kampnagel Fabrik Hamburg; Visual Arts Gallery;
Albright-Knox Art Gallery, Buffalo, NY; Corcoran Gallery of Art,
Washington, DC; Terrain Gallery, San Francisco; George Billis
Gallery. Publications include: Artforum, Art in America, Washington
Post, San Francisco Chronicle, Village Voice. The instructor’s work can
be viewed at: judymannarino.net.
Figure Drawing II
FIC-2104-A
The human body remains an invaluable resource in the study of
drawing. With the figure as our focus, this course aims to enrich
your artist’s hand and increase your mastery of media (charcoal,
graphite, sanguine, wet media and collage). We will work on
refining your skills through drawing the model in short and long
poses. Practice in the integration of media will be part of each
class, supported by examples of the masters such as Matisse,
Picasso and Diebenkorn. Weekly critiques will end the session.
This course is a dynamic way to learn from others while further
developing your own voice and confidence in drawing.
PREREQUISITE: A basic figure drawing course, or equivalent.
NOTE: Please bring a newsprint pad (18x24"), charcoal and erasers
(Klik or similar quality) to the first session.
SUSAN HAMBLETON, fine artist. BA, Columbia University; BFA,
School of Visual Arts; MFA, Hunter College. One-person exhibitions
include: Sears-Peyton Gallery; Icon Contemporary Art, Brunswick,
ME; Quartet Editions; The Gallery; Cava Gallery, Philadelphia.
Group exhibitions include: Jane Thurn Gallery; National Academy
of Design; O’Hara Gallery; Gallery Three Zero; Artists Space; Nancy
Hoffman Gallery; Rukaj Gallery, Toronto. Collections include:
Prudential Insurance Company of America, Nynex, Museum of
Modern Art, IBM, American Express. Publications include: Artforum,
ARTnews, Philadelphia Inquirer, Village Voice, The New York Times,
Art in America. Awards include: Pollock-Krasner Grant, Hollybrook
Foundation, MacDowell Colony.
Portrait Drawing I
FIC-2137-A
10 sessions; 3 CEUs
$400; model fee, $90
The foundation that guides drawing a portrait from a live model is
the focus of this course. A step-by-step approach will make this an
easy-to-understand but challenging experience. Through observation, we will analyze the structure of the face by employing different
methods, from quick sketches to the more elaborate and finished
portrait drawing. Proportion and scale will be emphasized with
traditional concepts, such as line, shadow and volume. Our goal
Portrait Drawing II
FIC-3137-A
This course is for students who have experience in portrait drawing.
While drawing a portrait is the central focus, various media will be
explored (oils, acrylics and pastels) to enhance the creative process.
The use of color will add more structure and an emotional flourish
to projects, and students will be encouraged to develop their
personal style. Studio work will be complemented with an examination of several masters of this discipline, including German
expressionists like Otto Dix, Oskar Kokoschka and George Grosz,
as well as Kees van Dongen and Joseph Delaney, and portraits by
Francesco Clemente and David Hockney.
PREREQUISITE: FIC-2137, Portrait Drawing I, or equivalent.
NOTE: Please bring a drawing pad with heavy paper (18x24"),
charcoal pencils and compressed charcoal or soft graphite pencils
ALPHONSE VAN WOERKOM, fine artist, illustrator, cartoonist.
BFA, Academy of Fine Arts, Breda; MFA, Jan van Eyck Academie.
Clients include: The New York Times, Toronto Star, London Times,
NRC Handelsblad, Random House. Group exhibitions include:
Sragow Gallery, PS 122. Collections include: The National Portrait
Gallery, Washington, DC. The instructor’s work can be viewed
at: alphonsevanwoerkom.com.
Drawing Marathon with Multiple Models:
Beauties and Beasts
FIC-2113-A
NEW
Hours: 10:00 am–6:00 pm
2 sessions; 1 CEU
$210; model and materials fee, $50
Open to all levels, this will be a two-day workshop of virtually
non-stop drawing. The purpose is to not only loosen up, but also
to approach drawing fearlessly. We will work with multiple models and props as well as from imagination. Students will work
quickly, drawing with various media. Restating and reworking of
drawings will be encouraged to create complex works. Ink, paint
and dry mediums will be used to blur the distinctions between
painting and drawing. Assignments and direction will investigate
elements of portraiture, figure study, narrative drawing, still life
and abstraction. This workshop is a drawing intensive: students
will be expected to work (very) hard and will gain a keener
understanding of the drawing process.
NOTE: Open to intermediate to advanced participants who
feel comfortable further developing their own hand and line.
Only odor-free, nontoxic materials may be used; solvent and
alcohol-based drawing markers are prohibited.
Times, Artforum, Milliyet, ARTnews, Art in America. Awards and honors include: New York Foundation for the Arts; Moon and Stars
Pastels
FIC-2144-A
No class, Oct. 3 and Oct. 10
Experience how the richness of pastels combines the expressive
sensibilities of both drawing and painting. Learn to layer, blend
and build color with pastels as you further develop your drawing
skills. Projects inspired by models, still life, nature objects and
students’ individual interests will be springboards to develop your
ability to observe, translate and transform through color. Discussion
of practical color theory, composition, three-dimensional form,
abstraction and personal content as well as demonstrations and
individual and group critiques will supplement studio work.
Beginning students will discover pastels to be a flexible, forgiving
medium to hone skills while transitioning to color. Experienced
toll-free tel. 877.242.7200 :: 85
FINE ARTS
is to show that the structures we draw express the character and
personality of our subject, built up in layers, section-by-section
and consolidated into a finished drawing. We will also explore the
great masters of this discipline, from Dürer and Holbein, Rembrandt
and Vermeer to modern and contemporary artists such as Lucian
Freud and Alice Neel.
NOTE: Please bring drawing and newsprint pads (18x24"), soft
charcoal of differing thickness, pencils (6 to 6B), a kneaded eraser
and a soft vinyl eraser to the first session.
ALPHONSE VAN WOERKOM, fine artist, illustrator, cartoonist.
BFA, Academy of Fine Arts, Breda; MFA, Jan van Eyck Academie.
Clients include: The New York Times, Toronto Star, London Times,
NRC Handelsblad, Random House. Group exhibitions include:
Sragow Gallery, PS 122. Collections include: The National Portrait
Gallery, Washington, DC. The instructor’s work can be viewed
at: alphonsevanwoerkom.com.
students are encouraged to develop their technique and personal
vision through class and independent projects.
NOTE: Please bring two sheets of white charcoal or pastel paper
(18x24"), soft vine or willow charcoal, compressed charcoal,
erasers and masking tape to first session. Experienced students
may also bring pastels.
SHELLEY HAVEN, fine artist. BA, SUNY Binghamton; MA, MFA,
University of Iowa. One-person exhibitions include: Tompkins
Square Gallery, New York Public Library. Group exhibitions
include: Lesley Heller Gallery; Central Booking; Kingsborough
Community College; Manhattan Graphics Center; Indira Gandhi
National Centre for the Arts, New Delhi. Collections include:
Museum of Modern Art, Stedelijk Museum, Library of Congress.
Grants include: Puffin Foundation, New York State Council on
the Arts, Manhattan Community Arts Fund. Artist residencies
include: Virginia Center for the Creative Arts, Millay Colony for
the Arts, Fundación Valparaiso. The instructor’s work can be
viewed at: shelleyhaven.com.
Visual Narratives: Many Ways to Tell a Story
FIC-2152-A
This hands-on course will explore a variety of ways to tell a story
or present information through forms that include drawing,
painting, sewing, printing and collage. We will look at the history
of visual narrative from around the world. We will study graphic
novels, comics, cartoons and contemporary narrative painting and
drawing and use these forms as a source for our own work. Open
to all from beginners to advanced. Instruction in basic drawing
and in more advanced concepts.
NOTE: A supply list will be distributed upon registration
in this course.
ELISE ENGLER, fine artist, art educator. BFA, Hunter College;
MFA, Bennington College. One-person exhibitions include: PS
122; Cynthia Broan Gallery; John Davis Gallery, Hudson, NY.
Group exhibitions include: National Academy Museum and
School of Fine Art; Dowling College, Oakdale, NY; Colgate
College, Hamilton, NY; Weatherspoon Art Museum, Greensboro,
NC; Elizabeth Leach Gallery, Portland, OR; Gracie Mansion
Gallery; Islip Art Museum, NY. Publications include: Art in America,
The New York Times, Newsday. Awards and honors include: New
York Foundation for the Arts, National Science Foundation
Antarctica Artists and Writers Program, MacDowell Colony,
Civitella Ranieri Foundation. The instructor’s work can be
viewed at: eliseengler.com.
READY TO REGISTER?
Details on page 4
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Accordion Book Workshop
FIC-2156-A
NEW
Hours: 10:00 am–4:00 pm
This workshop will include creating a short narrative through
drawing, painting or collaging the narrative in an accordion format
and then assembling the accordion book and creating a cloth or
other mixed-media cover. There will be instruction and assistance
in developing the sequence (that may be traditionally narrative or
more abstract) as well as in the art-making, using any drawing or
water-based painting medium. The end result will be a finished,
illustrated accordion book.
Memory, Imagination and Mixed Media
FIC-2551-A
Tues., Nov. 8–Dec. 13
This course is for students who are beyond the beginning drawing/
painting level, and are ready to intensively develop their imagination. In a supportive environment, each student will design a
six-week project that emphasizes imaginative imagery. Memory,
dreams, fiction and literature can all be used as subject matter. In
addition to models, source materials such as photos, collages and
sketches can be used as tools to develop finished works. Working
with a choice of media, including collage, photos, digital prints and
paint, this course will give students the opportunity to explore
their artistic vision. Discussions on mixed media, experimental
procedures and archival concerns will complement studio work.
NOTE: Please bring drawing or painting materials, examples of
your work and possible source materials to the first session, and
be prepared to discuss ideas for your project.
SETH MICHAEL FORMAN, fine artist. BA, SUNY Potsdam; MFA,
School of Visual Arts. One-person exhibitions include: Bernard
Toale Gallery, Boston; Dean Jensen Gallery, Milwaukee; Miller Block
Gallery, Boston; Adam Baumgold Gallery; Cavin-Morris Gallery;
frosch&portmann. Group exhibitions include: Eyebeam; New
Museum of Contemporary Art; Bucheon Gallery, San Francisco;
DC Moore Gallery; Visual Arts Museum; Noyes Museum of Art,
Oceanville, NJ. Publications include: The New York Times, The New
Yorker, Art Journal, Boston Globe, New Art Examiner, Harper’s, Oxford
American. Awards include: New York Foundation for the Arts. The
instructor’s work can be viewed at: sethmichaelforman.com.
PAINTING COURSES
Painting
Painting
FIC-1226-CE
This course is designed for beginners and experienced painters
alike. Demonstrations for both acrylic and oil paint will be included,
as well as color theory, mixing color, light and shadow, glazing,
priming, composition and content. Through guided experimentation
and exploration with color, you will develop techniques and gain
the skills to realize your artistic vision. Group critiques and one-on-one
instruction will help inform and assist your process. From canvas
preparation through to the completion of the painting—working
from models, still life, photographs or imagination—the instruction
will focus on individual growth in a supportive environment.
NOTE: Please bring dark charcoal or 6B pencils and a newsprint
pad (18x24") to the first session. This course may be taken for
undergraduate credit. Please refer to FID-1226-CE in the credit
courses section of this bulletin for details.
MAURA SHEEHAN, fine artist ; founder, director, Manhattan
Art Program. BFA, San Francisco Art Institute. One-person exhibitions include: Helsinki Museum, Finland; Simon Watson Gallery;
Lausanne Biennale; Museo de Arte Contemporaneo, Seville; Art
Gallery of Toronto, Canada; Old Yacht Club, Cork, Ireland; Row
House, Houston; Cristinerose Gallery; Helen M.Z. Cevern Gallery;
Art at the Anchorage; London Metropolitan University Gallery,
Whitechapel; Nave Museum, Victoria, TX. Group exhibitions
Painting
FIC-1221-A
Painting is a very curious act. Do you have the desire to make
something look real? Have you ever wondered about color and
how it creates form and atmosphere? This is a beginning course
designed to introduce the fundamentals of painting. Using oil
paint, students will explore the many aspects of color in a very
clear, methodical way. Weekly, you will build your understanding
of color and form painting from subjects that will include still life
and the model. The course will concentrate on each student’s
individual development, enhancing his or her technical skills and
personal expression. By the end of the course you will be amazed
at your newfound ability.
JUDY MANNARINO, fine artist. BFA, with honors, School of Visual
Arts. One-person exhibitions include: Fiction/Nonfiction Gallery;
Penine Hart Gallery; Addison/Ripley Gallery, Washington, DC;
LedisFlam Gallery. Group exhibitions include: Elliot Smith Gallery,
St. Louis; Die Kampnagel Fabrik Hamburg; Visual Arts Gallery;
Albright-Knox Art Gallery, Buffalo, NY; Corcoran Gallery of Art,
Washington, DC; Terrain Gallery, San Francisco; George Billis
Gallery. Publications include: Artforum, Art in America, Washington
Post, San Francisco Chronicle, Village Voice. The instructor’s work can
be viewed at: judymannarino.net.
A Predisposition to Paint
FIC-2206-A
NEW
Hours: 10:00 am–1:00 pm
The starting point here is a desire to paint. The ending point,
well that never ends in painting, but for this course it will be an
understanding of contemporary art ideas, painting techniques and
formal concerns that will help develop each student’s vision. Using
novel and traditional techniques and materials students will look
at how each element of a painting (subject matter, material, scale,
paint application, installation and support) can shift the reception
of the work. The vast range of pictorial sources will also be discussed.
Students will be encouraged to work outside of their comfort zone,
to embrace chance and to develop intellectual dexterity along
with painting techniques. Contemporary and historical issues will
be covered through brief presentations. Experimentation is
encouraged, as is failure.
Note: Prior painting experience is helpful, but not required.
There is no restriction to media.
SHIRLEY IRONS, fine artist. BFA, Parsons School of Design.
One-person exhibitions include: Queens Museum of Art; Luisotti
Gallery, Santa Monica; Temple University, Philadelphia; White
toll-free tel. 877.242.7200 :: 87
FINE ARTS
FIC-1223-CE
Hours: 10:00 am–2:00 pm
Designed for the beginning student, this studio course will introduce
the fundamentals of color, space, composition and technique.
Oil paint will be the primary medium; other media will be explored,
including collage. Students will paint from observation, memory
and imagination. Contemporary concepts will be emphasized. There
will be individual and group critiques.
NOTE: Please bring a rough newsprint pad (18x24"), charcoal
pencils and an eraser to the first session. This course may be taken
for undergraduate credit. Please refer to FID-1223-CE in the
credit courses section of this bulletin for details.
MELISSA MEYER, fine artist. BS, MA, New York University.
One-person exhibitions include: Lennon, Weinberg Inc.; Elizabeth
Harris Gallery; Holly Solomon Gallery; Miller/Block Fine Art,
Boston; Rebecca Ibel Gallery, Columbus, OH. Group exhibitions
include: Katonah Museum of Art, NY; National Gallery of Art,
Washington, DC; Aldrich Contemporary Art Museum, Ridgefield,
CT; Graham Modern Gallery. Collections include: Museum of
Modern Art, The Metropolitan Museum of Art, Jewish Museum,
Solomon R. Guggenheim Museum. Publications include: Art in
America, Wall Street Journal, ARTnews, Brooklyn Rail, The New York
Times, Artforum, Artcritical. Awards and honors include: New York
Foundation for the Arts; National Endowment for the Arts; Rome
Prize Fellowship, American Academy in Rome. The instructor’s
work can be viewed at: melissameyerstudio.com.
include: Museo Nacional Centro de Arte, Reina Sofia, Madrid;
Printed Matter; Museum of Contemporary Art, Los Angeles; Von
der Heydt-Museum, Wuppertal, Germany; Orensanz Foundation;
Galerie Berlin Am Meer; Green Dog Arts,NEW
Belfast; Pierogi Gallery;
ARTifariti, West Sahara, Africa. Publications include: Time Out
New York, Art in America, ARTnews, The New York Times, Flash Art,
Artforum, Irish Times. Awards and honors include: CAPS, National
Endowment for the Arts, New York State Council on the Arts,
New York Foundation for the Arts, Pollock-Krasner Foundation.
The instructor’s work can be viewed at: maurasheehan.net.
Columns; Postmasters Gallery; Staniar Gallery, Washington and
Lee University, Lexington, VA. Group exhibitions include: B 4 A
Gallery; Richard Anderson Gallery; Thread Waxing Space; Hunter
College; Patrick Callery; The Clocktower; Simon Watson Gallery;
Murray Guy; McDonough Museum of Art, Youngstown State
University, OH; Four Walls; Islip Art Museum, NY; Caren Golden
Fine Art; MoMA PS1. Publications include: Bomb, Acme, Blast, The
New Yorker, Art Monthly, Time Out New York, Flash Art, Los Angeles
Times, The New York Times, Village Voice. The instructor’s work can
be viewed at: shirleyirons.com.
Realistic Portrait and Figure Painting
FIC-2221-CE
Hours: 12:00 noon–6:00 pm
Great realist painters do far more than faithfully copy what they
see. Creating the illusion of reality requires the ability to understand and interpret your subject matter. This course, taught by an
award winning portrait painter, will present, to artists of all levels,
a uniquely simple and logical approach to working in oil, and will
allow you to rigorously engage with the principles of figure and
portrait painting in the classical tradition. You will learn the timehonored techniques and skills necessary to create a believable
three-dimensional reality, regardless of how loose or tight you
choose to paint. Working from a live model, you will learn to
capture a likeness, handle paint, emphasize the effects of light
and atmosphere, model form, mix stunningly lifelike flesh tones
and, most importantly, you will learn the underlying strategic
thinking behind the creation of the world’s greatest masterpieces.
Every step from preparing your canvas to applying the final highlight will be thoroughly demonstrated and explained. Each student
will also receive numerous one-on-one critiques and personalized
instruction. After taking this class, you will be able to apply what
you’ve learned to any subject matter in any artistic medium,
including digital.
NOTE: A Sunday afternoon field trip to The Metropolitan
Museum of Art is included. Please bring a notebook and pen
to the first session. A complete supply list will be distributed at
the first session. This course may be taken for undergraduate
credit. Please refer to FID-2221-CE in the credit courses section
of this bulletin for details.
MARVIN MATTELSON, portrait artist. BFA, University of the Arts.
Clients include: New York Archdiocese, ITT Corporation, CBS,
MBNA, MetLife, Time Warner, DreamWorks, IBM, MTV, FedEx,
Disney, Newsweek, Warner Publishing, Putnam, A&E, ABC, Geffen
Films, Nynex, National Geographic, Scientific American, United States
Postal Service, Angel Records, Cold Spring Harbor Laboratory,
Redbook, Psychology Today, New York magazine, Grey & Grey.
Exhibitions include: Richard C. von Hess Gallery, University of the
Arts, Philadelphia; American Society of Portrait Artists; Society of
Illustrators; Connecticut Society of Portrait Artists; Long Island
Professional Artists’ Showcase; New York Society of Portrait Artists.
Publications include: Communication Arts, Idea, Print, Folio, Graphics,
Step-by-Step Graphis. Awards and honors include: First Place, Best
Portfolio, Portrait Society of America; American Society of Portrait
Artists; Society of Illustrators. The instructor’s work can be viewed
at: fineartportrait.com.
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FIC-2221-CE1
Hours: 10:00 am–4:00 pm
See FIC-2221-CE for course description and instructor.
refer to FID-2221-CE1 in the credit courses section of this bulletin
for details.
Portrait Painting
FIC-2237-A
This comprehensive course in portrait painting will explore all you
need to know to make realistic, fully illuminated portraits. It is
perfect for beginners and will prove of immense value to even
the most experienced professional. Each week will involve painting
from the model with detailed instruction. We will begin with an
examination of how color can be used to create palpable flesh
and three-dimensional form. Subsequent projects will build from
this foundation and incorporate paint layering and underpainting
techniques, as well as a look at the mysteries of pose, posture and
gesture. The simple break down of the features—nose, eyes,
mouth, ears—will enable you to quickly incorporate them into
your portrait with accuracy and credibility. Examples from masters’
work will be shown and discussed. Home assignments support
and continue the work in class, and sometimes range to more
experimental approaches to the portrait.
NOTE: A short video about the course and a materials list can
be viewed at: johnaparks.com.
JOHN PARKS, painter. BFA, Hull College of Art; MA, Royal
College of Art, London. One-person exhibitions include: Coe Kerr
Gallery, Allan Stone Gallery, Segal Gallery. Group exhibitions
include: Royal Academy, Wonderlich Gallery, Kornblee Gallery.
Clients include: CBS Records, New York magazine, Franklin Mint.
Publications include: The New York Times, American Artist, Watercolor.
Collections include: Victoria and Albert Museum, Royal College
of Art. Awards include: National Endowment for the Arts, British
Institute Award, Pears Portrait Commission. The instructor’s work
can be viewed at: johnaparks.com.
Portrait Painting
FIC-2237-B
See FIC-2237-A for course description and instructor.
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Techniques and Materials of Painting
Intensive Painting Workshop: Paint Your Own Vision
FIC-2249-A
Hours: 10:00 am–4:00 pm
This intensive painting workshop is for artists at all levels who
would like to explore their vision in oil or water-based painting
media. It is structured to allow students the time and freedom to
individually explore those aspects of painting that interest them,
including realism, abstraction and experimentation. Beginning
painters will receive instruction in such areas as creating the illusion
of light, three-dimensional space, and rendering surface textures,
including fabric, reflective metal and glass. Advanced students and
abstract painters will be encouraged to define their visual sensibility
while honing technical painting skills. Models will be available for
each session, and all students will be supported in developing
their critical and conceptual thinking, regardless of style or
subject matter.
NOTE: The first session will include a discussion of non-toxic
painting options, and a supply list will be distributed.
Making It Real
ILC-2334-A
This course will explore all you need to know to create fully
three-dimensional illuminated paintings of the world around you.
It is perfect for beginners and will prove of great value to more
advanced painters. It examines how to make an image pop off the
canvas or a landscape recede into the blue and hazy distance. It
will address how to make a head really solid and dimensional, the
eyes really liquid and the jewelry sparkle. Students will uncover
the means by which an image can be made to appear more real
than real itself. They will discover how color, tone and paint techniques can be combined to produce an image of dazzling reality.
We will study various options of underpainting, color and tonal
systems, as well as some of the more amazing games that can be
played with shadows and reflections. Studio work will be from the
figure and still life. Assignments include the use of a variety of
sources from landscape to photography.
Painting: Between Realism and Abstraction
FIC-2254-A
Working from the figure, students will start by exploring semirealistic styles and then move on to deconstruct the figure into
more abstract shapes. Color, tone and line will be continuously
explored. At times, projects will address the fine line between
realism and abstraction. Glazing techniques, as well as transparent
to impressionistic impasto painting, will be demonstrated. We
will break down the figure and study a concentrated, expressive
brush stroke. Finally, students will work on abstracted shapes of
the body—pushing angles, reinventing curves, twisting torsos and
elongation. Students will complete approximately eight finished
pieces by the end of the course.
NOTE: Please bring paints and canvas (18x24") to the first session.
ANDREW CASTRUCCI, painter, sculptor, illustrator, graphic
designer. BFA, MFA, School of Visual Arts. Exhibitions include:
Bullet Space; Le Case D’Arte, Milan; New Museum of Contemporary
Art. Collections include: Whitney Museum of American Art, State
toll-free tel. 877.242.7200 :: 89
FINE ARTS
FIC-2243-A
The variety of tools and materials available to artists today is
extraordinary, and the diversity of these materials can be very
confusing even to experienced painters. For anyone seriously
interested in painting, it is imperative to consider the role that
materials and craft play in the making of art, as well as the safe
handling of those materials. This course is designed to unlock the
mysteries surrounding the technical procedures of key painting
methods, and will explore the possibilities in oil painting, from
historical, contemporary, and experimental perspectives. Through
demonstrations and hands-on experimentation, we will explore
various painting techniques, grounds and supports, pigments, oils,
varnishes, painting mediums and brushes. Most importantly, we
will put these techniques to use with an emphasis on the materials
and technical procedures of oil painting.
NOTE: The complete supply list will be discussed during the first
session. Please come prepared to take notes.
Museum of Berlin, Stedelijk Museum, Museum of Modern Art,
Walker Art Center, Victoria & Albert Museum. Publications
include: The New York Times, Art in America, Artforum, Village Voice,
Time Out New York, Newsweek. The instructor’s work can be
viewed at: andrewcastrucci.com.
Watercolor Painting
FIC-2264-A
This course is designed to inform and demonstrate all the “shop
tricks” in watercolor painting. Beginning and experienced students
will learn how to avoid pitfalls and advance their watercolor paintings.
We will explore a variety of watercolor techniques with an emphasis
on developing one’s own style. Demonstrations of color and design,
wet-on-wet and dry brush techniques will be included. Students
can paint from still life, photographs or their own subject matter.
Individual attention will be given.
in this course.
DENIS PONSOT, painter. One-person exhibitions include: Artists’
Woods, Amagansett, NY; Daruma Gallery; Alfred Van Loen
Gallery, Huntington Station, NY. Group exhibitions include: J.N.
Bartfield Galleries; Bayside Historical Society, NY; Salmagundi Club;
South Huntington Library, NY; Art League of Long Island, NY;
Brookhaven Arts and Humanities Council; Heckscher Museum
of Art, NY; Islip Art Museum, NY. Awards include: Salmagundi
Club, Grumbacher Award. The instructor’s work can be viewed
at: denisponsotartstudio.webs.com.
Painting, Art-Making and Mindfulness Meditation
FIC-2276-A
Creativity is in all of us—it’s just a matter of accessing it. Meditation
is one way. Each class session will start with a period of guided
meditation. What happens is that you become more perceptive,
more curious and more open to what is actually happening to you
in the moment. It is not about getting something, but seeing what
you already have, your endless flow of creativity. This takes practice,
and this course will give you the tools to do that. Often we will
work as a group. Individual work will also be a big part of the class.
Meditation and a nonjudgmental environment are integral aspects
of the course. Open to painters at all levels, and to anyone who
wants to begin painting. Everyone can benefit from this process
and all are welcome.
FRANK YOUNG, painter, art director. Studied at Insight
Meditation Society. Exhibitions include: P.S.1 Contemporary Art
Center; Walker Art Center, Minneapolis; Protetch McNeil Gallery;
Hal Bromm Gallery; Kingston Museum of Contemporary Art, NY;
The Clocktower. Collections include: Solomon R. Guggenheim
Museum, Museum of Modern Art. Publications include: Artforum,
Graphis, Art in America, Print, The New York Times, Communication Arts.
Awards include: Art Directors Club, National Endowment for
the Arts, The One Club, AIGA.
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Accordion Book Workshop
FIC-2156-A
NEW
Hours: 10:00 am–4:00 pm
This workshop will include creating a short narrative through
drawing, painting or collaging the narrative in an accordion format
and then assembling the accordion book and creating a cloth or
other mixed-media cover. There will be instruction and assistance
in developing the sequence (that may be traditionally narrative or
more abstract) as well as in the art-making, using any drawing or
water-based painting medium. The end result will be a finished,
illustrated accordion book.
The Painting of Light
FIC-2284-A
The study and interpretation of light is a foundation of representational painting. This course will explore how light can visually
communicate time of day, temperature, weather, color and
texture, among other variables. You will learn how to control light,
key your paintings and create good value structures to achieve
a specific feeling or mood you are after, and fill your paintings with
light and energy. Working from photographic reference, you will
learn how to re-design the elements of a photograph to create a
more dynamic and compelling painting. Demonstrations, painting
exercises, and discussions on materials and common problems
related to rendering specific types of light will be included.
One-on-one instruction will be tailored to your interests and
technical proficiency.
NOTE: Please bring 5 to 10 photographs of your own landscape
photography, a rough newsprint pad (18x24"), a single-edge razor,
four 4B charcoal pencils and a kneaded eraser to the first session.
PETER FIORE, fine artist. One-person exhibitions include: Cavalier
Galleries, Greenwich, CT; Miller Gallery, Cincinnati, OH; Scottsdale
Fine Art, AZ; Churchill Gallery, Newburyport, MA; Kerygma
Gallery, Ridgewood, NJ; RS Hanna Gallery, Fredericksburg, TX;
Travis Gallery, New Hope, PA. Publications include: American Artist;
American Art Collector; Artist’s Magazine, Fine Art Connoisseur; The
Illustrator in America, 1860-2000; Art Journey America: Landscapes.
Awards and honors include: First Place Landscape, Art Renewal
Center; First Place, Artist’s Magazine Annual Competition; Alden
Bryan Memorial Award, American Artists Professional League.
The instructor’s work can be viewed at: peterfiore.com.
Exploring Multimedia
FIC-2551-A
FIC-2548-A
This course is designed to strengthen and expand your art-making
skills and ideas through a creative exploration of traditional and
unconventional materials. We will focus on the endless possibilities
of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and
sculpture. Sound, gravity and magnetism can also be incorporated
into projects. Broad suggested assignments are given to kick-start
your thinking. Experimentation and failure are encouraged. Through
group and individual critiques we will examine the universal and
personal signification of the materials, how those can change in
combination and how they can help define your interests and form
a unique voice. We will also look at the ways collage, assemblage
and installation have developed to expand your critical vocabulary
and give you a sense of where your work fits in this history. This
course is appropriate for all ranges of experience, from beginners
to advanced students.
NOTE: Please bring notepaper and five objects selected at random
to the first session. Access to the SVA Sculpture Center is
not included.
Advanced Painting
FIC-3211-CE
Hours: 10:00 am–4:00 pm
In this all-day studio course, students can explore ideas from their
personal artistic vision and bring them to completion. The instruction will focus on individual growth in a supportive class environment.
This course has been developed to help students think clearly
about technique and skills. Contemporary as well as historical
issues will be examined to assist students in establishing a historical
sense of themselves as artists.
NOTE: Please come prepared to paint and bring examples of your
work to the first session. This course may be taken for undergraduate credit. Please refer to FID-3211-CE in the credit courses section
of this bulletin for details.
IRA RICHER, fine artist. BFA, The Cooper Union; MFA, Yale University.
One-person exhibitions include: Foster Goldstrom Gallery, American
Fine Arts, Annina Nosei Gallery, Steven Kasher Gallery. Group
exhibitions include: Los Angeles Art Fair, Robert Miller Gallery,
Basel Arts Fair, Houghton Gallery, Frankfurt Art Fair. Collections
include: Patrick Lannon Museum; Vincent van Gogh Museum,
Arles. Publications include: Bomb, Village Voice, Artforum.
Studio Art Therapy Techniques
FIC-3518-A
Thurs., Oct. 20–Nov. 10
Join other art therapists and artists in studio work that is designed
to heighten perception and sensory awareness. Combining an open
studio and thematic approach, experientials will be used to explore
personal and artistic identity, as well as facilitate an understanding
of the art-making processes art therapists employ with clients.
While designed for art therapists, the course is open to all, and
geared to help tap into your inherent creativity.
RYAN KATHLEEN NORTON, art therapist, ATR-BC, LPC.
BFA, MPS, School of Visual Arts; MS, Monmouth University.
Professional experience includes: Art therapist/senior primary
therapist, Adolescent and Child Partial Hospitalization Program,
Liberty Health, Jersey City Medical Center. Group exhibitions
include: Lafayette Hotel, San Diego CA; Cloître Saint-Paul,
Saint-Rémy-de-Provence, France.
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FINE ARTS
Contemporary Painting Lab: Artists and
Techniques of the 21st Century
VSC-2237-CE
How does Ed Ruscha achieve his trademark sunset-like fade? Or
Gerhard Richter his dreamy, cinematic blur? What might a painter
like Dana Schutz do to make an irresistibly juicy brushstroke…or
Alex Katz an unfussy line? How do hard edges, transparency, luminosity and distinctive mark-making affect the tone of a painting,
and how are these effects best achieved? In this course, we will
look to contemporary painters as guides for answering questions
about how to create striking compositions by the most relevant
methods possible. From taping and scraping to glazing, layering
and trompe l’oeil tricks, we’ll pinpoint technical solutions that align
with each student’s conceptual goals. Open to both experienced
painters and those relatively new to the medium, thematic projects
will be assigned each session. Included will be presentations on
contemporary artists to foster a dialogue about possibilities
for painting.
refer to VSD-2337-CE in the credit courses section of this bulletin
for details.
EMILY WEINER, visual artist; writer; founder, The Willows
Apartment Show. BA, cum laude, Barnard College; MFA, School
of Visual Arts. Group exhibitions include: Regina Rex; Sargent’s
Daughters; AIR; Kravets Wehby Gallery; Nancy Margolis Gallery;
Louise McCagg Gallery, Barnard College; Artists Run Festival,
Copenhagen; Grizzly Grizzly, Philadelphia; Walter Phillips Gallery
at The Banff Centre, Canada; Camac Art Center, Marnay-sur-Seine,
France; Fleisher/Ollman Gallery, Philadelphia. Publications include:
Time Out New York, Artforum, Domus, Surface, ArtSlant, ARTnews.
The instructor’s work can be viewed at: emilyweiner.com.
Exhibition Making
VSC-2604-A
Designing an exhibition, while learning a practical set of skills, is
the focus of this course. Students will explore methods, tools,
techniques and the technologies needed to create exhibitions
in a gallery environment. This includes planning, audiovisual
components, electronic media, lighting, vinyl graphics and CAD
software. Through lectures, students will gain an understanding
of the theoretical aspects of exhibition design: how themes and
topics are transposed into exhibition material, the gallery as event
space, Internet art, the performative, moving beyond the gallery.
An overview of curating strategies will help to empower students
as they approach the exhibition installation experience. This
course is designed to prepare students for a variety of careers in
museums and galleries, exhibition design and production firms.
Instructors will work individually with students to create exhibit
proposals to be presented during the final session.
CARL AUGE, exhibition coordinator, School of Visual Arts. BFA,
MFA, California College of Arts and Crafts. Professional experience includes: Audiovisual technician, San Francisco Museum
of Art. One-person exhibitions include: Chashama 461Gallery;
Rowan Morrison Gallery, Oakland, CA; de Saisset, Santa Clara
University Gallery, CA. Group exhibitions include: Headlands
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Center for the Arts, Sausalito, CA; San Francisco Museum of
Modern Art; Tabla Rasa Gallery. Clients include: Neurosis,
Pure + Applied, Museum of the City of New York, Sidney and
Nancy Unobskey. Awards and honors include: Pollock-Krasner
Foundation Award, Walter and Elise Haas Fund, Creative Work
Fund Grant.
JOVANA STOKIC, art historian, curator. BA, Belgrade University;
MA University of California, Riverside; PhD, New York University.
Professional experience includes: Curator of performance,
Location One; curator, Kimmel Galleries, New York University;
researcher, Whitney Museum of American Art. Curatorial projects
include: “Off Center Femininities: Regards from Serbia and
Montenegro,” Robert Else Gallery, California State University,
Sacramento; "New York as an Open Market: Individual in Global
Spectacle," Ozone Gallery, Belgrade. Publications include: La
Fabrica, ARTMargins, Bomb, Performance Art Journal. Catalog essays
include: “Leaving the Balkans, Entering the Other Side,” Marina
Abramovic: The Artist is Present; “Forbidden Games: Marina
Abramovic’s 8 Lessons on Emptiness with a Happy End,” Galerie
Guy Bärtschi.
VSC-2723-A
FINE ARTS
ONLINE COURSES
Coding for Artists:
Emergent Art Worlds:
Alternatives to the Gallery System
OLC-2743 -A
NEW
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
This course aims to help you find appropriate audiences for your
artwork outside of the gallery system by understanding the
New York “art world” not as a monolithic entity, but as a series of
interconnected, intimate art worlds. In weekly video lectures and
readings, you will be introduced to contemporary artists working
in multiple art worlds, from networks of conceptual artists to
solidarity co-ops, from alternative currency groups to online startups. We will examine how every aspect of your production and
distribution process—from sourcing materials to organizing your
studio, from licensing to acquisition—can deepen your work and
remind people of your intentions as an artist. Over 12 weeks, you
will be challenged to respond to my conviction that “form follows
supply chain,” as you identify art worlds that are appropriate to
your work. The goal of the course is to help you find satisfaction
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FINE ARTS
OLC-1411-A
NEW
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
and community in your local art world by learning about the
experience of art worlds in New York City as well as those locations
to which your fellow students are connected.
due by specific dates. This course is open to all students.
CAROLINE WOOLARD, visual artist. BFA, The Cooper Union.
One-person exhibitions include: Museum of Modern Art, Cullman
Research Center; University of Massachusetts, Amherst; Chazan
Gallery, Providence, RI; The Watermill Center, NY. Group exhibitions
include: Whitney Museum of Art; Brooklyn Museum; Museum of
Art and Design; Cleveland Museum of Art; Tate Modern, London;
Creative Time; Museum of Contemporary Art, Roskilde, Denmark;
Hunter Harlem Gallery; Mediamatic, the Netherlands; Exit Art;
Deitch Projects. Publications include: The New York Times, Bomb,
Art in America, Wall Street Journal, The Atlantic, Gnome, Hyperallergic,
Washington Post, Times-Picayune. Awards and honors include:
National Endowment for the Arts, Rockefeller Cultural Innovation
Fund, Eyebeam. Artist residencies include: Queens Museum Studio
Program; Museum of Modern Art; Lower Manhattan Cultural
Council; University of Wisconsin, Madison. The instructor’s work
can be viewed at: carolinewoolard.com.
SCULPTURE COURSES
It is mandatory for students to attend the first session of class,
during which essential information on the proper use of tools and
materials as well as safety demonstrations will be given. If the first
session is missed, the instructor and sculpture facilities manager,
Daniel Wapner ([email protected]), must be informed. The School
of Visual Arts reserves the right to prohibit any student from tool
use or facilities access as deemed necessary.
Access to the Sculpture Center outside of class hours is available
for students enrolled in sculpture courses, unless otherwise indicated.
The Sculpture Department has an onsite store where students can
purchase materials, including wood, plaster, metal and glazes.
Sculpture
FIC-1430-CE
Designed for students at all levels who wish to explore the world
of sculpture, this course will begin with basic carving techniques
using blue foam covered by an aqua resin. Demonstrations of
various techniques used to produce 3D works will be included,
as well as slide presentations of artworks from many disciplines.
Students will be encouraged to critically examine how emerging
technologies alter the landscape of making art.
NOTE: The studio fee includes safety equipment, hand tools,
abrasives, compressed air, lubricants and access to the plaster
workshop outside of class time, based on facility availability. All
other materials must be purchased by the student. This course
may be taken for undergraduate credit. Please refer to FID-1430-CE
in the credit courses section of this bulletin for details.
NICOLAS TOURON, sculptor, ceramist. MFA, School of Visual
Arts. One-person exhibitions include: Virgil de Voldère Gallery;
Galerie Bugdahn und Kaimer, Düsseldorf. Group exhibitions
include: Josée Bienvenu Gallery; Galleria Rizziero Arte, Pescara, Italy;
Tropen Museum, Amsterdam; NADA Miami Art Fair; Kunstraume
auf Zeit, Linz; Kunsthal, Rotterdam. Publications include: The New
York Times, New York magazine. Award: Fulbright Fellowship. The
instructor’s work can be viewed at: nicolastouron.com.
Contemporary Ceramic Sculpture
FIC-2417-A
In this course, students will produce contemporary sculptural
works with clay. Stepping away from the traditional hand building
and wheel methods, this course will use mold-making and cast
ceramics as the primary techniques. Additionally, students can
explore alternative mediums such as silicone and found objects.
Students will work on individual projects tailored to their interests
and experience. Critiques will be an integral part of the course.
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Throughout, students will be encouraged to develop new
approaches to their work. Lectures and slide presentations on
contemporary ceramic art and artists will be included.
NOTE: The studio fee includes safety equipment, hand tools, kiln
use and access to the ceramics workshop outside of class time,
based on facility availability. All other materials must be purchased
by the student.
Ceramics
FIC-2408-A
10 sessions; 3 CEUs
Students will learn practical hand-building techniques and skills on
the wheel. Pinch pots, coil building and slabs will be demonstrated.
Wheel work will follow. Wedging, centering, opening and pulling
will be practiced. Combining hand building and throwing techniques to create new forms, students can focus on developing
a personal style. Slip application, sgraffito and inlay, glazing and
resist techniques will also be covered. A survey of the history
of ceramics will be included.
NOTE: The studio fee includes safety equipment, hand tools, kiln
use and access to the ceramics workshop outside of class time,
by the student.
YUKO SUZUKI, fine artist, sculptor; assistant director, ISE
Cultural Foundation. BFA, School of Visual Arts. Exhibitions
include: The Phatory LLC; Lumenhouse; Real Art Ways, Hartford,
CT; Marvelli Gallery; The Body Archive Gallery; Goliath Visual
Space. Publications include: Bushwickbk.com, The New York Times,
Ceramic Monthly, designboom.com. The instructor’s work can be
viewed at: yukosuzukistudio.com.
Transmedia
FIC-2422-A
This course will allow you to really explore and invent by embracing
all media, and will encourage anyone who desires a nurturing critical
discourse and consciousness of themselves in relation to what is
happening in the visual arts today. A fully mixed-media orientation
is receptive to all approaches, including students who are primarily
painters, photographers or videomakers, performers, among
others. The emphasis will be on enabling experimentation with a
full range of traditional, unconventional and exotic materials,
techniques and ideas: digital fabrication, audio, electricity, fluids,
mechanical parts, photomontage, optics, metal, paper, wood. The
development of your concepts and personal interests will be
strongly supported. Our thinking will be placed in contemporary
Stone Carving
FIC-2426-A
Hours: 10:00 am–1:00 pm
10 sessions; 3 CEUs
The use of stone in art has unlimited possibilities. This course will
introduce traditional techniques and explore innovative methods.
Instruction will include the use of hand, pneumatic and electric
tools as well as inlay, lamination, construction and pointing (copying). New alternatives such as the combining of colored stones in
constructed sculptures will be taught. Creative thinking in classical,
modern and contemporary sculpture will be encouraged. There
will be discussions on theory and technique, from Michelangelo
and Rodin to Heizer and Burton. Field trips will vary from a visit
to a stone carver’s studio to a site-specific stone installation.
NOTE: The studio fee includes use of compressors, consumables,
hand tools and safety equipment. All materials must be purchased
by the student. A release will be provided for each student registering for this course. The release must be signed by the student
at the beginning of the first session. This course will be held at the
instructor’s studio, 88 Alta Avenue, Yonkers, NY. Access to the
SVA Sculpture Center is not included.
BARBARA SEGAL, sculptor. BFA, Pratt Institute; Ecole des Beaux-Arts,
Paris. Exhibitions include: Krause Gallery; Gallery Biba, Palm Beach,
FL; Jim Kempner Fine Arts; Art Angels, Los Angeles; Verona Art
Fair, Italy; A-part Contemporary Arts Festival, Provence, France;
ABC Worldwide Stone. Public projects include: “Muhheakantuck,”
MTA Arts for Transit at Yonkers Metro North, NY; New York City
Department of Parks and Recreation. Publications include: The
New York Times, Art & Antiques, New York Daily News, Art New
England, Stone World, Village Voice. Awards include: MTA/Arts for
Transit; HUD; Silvermine; Public Art Network Year in Review
Award; Americans for the Arts; Mayoral Citation, City of Yonkers;
Westchester Arts Council; NYS Assembly Citation. The instructor’s
work can be viewed at: barbarasegal.com.
Digital Sculpture
FIC-2687-A
Making sculptures using computer-aided fabrication and rapid
prototyping machines is the focus of this course. Students will
be guided in how to make templates for sculptures using Adobe
Illustrator and SolidWorks, and how to use machines like the
Epilog laser cutter and the CNC ShopBot to create fully realized
3D objects from their designs. These technologies offer the ability
to execute intricate and precise designs that would be impossible
or too time-consuming using traditional techniques. Students will
have the opportunity to work in a wide variety of materials such
as wood, acrylic glass, Plexiglas, aluminum and foam. Turn your
ideas into objects with the precision of laser and CNC technology.
NOTE: The studio fee includes safety equipment, welding gases,
welding rods, drill bits, saw blades, abrasives, compressed air,
lubricants and wood glue, as well as access to electronic media
workstations and the plaster, wood and metal workshops outside
of class time, based on facility availability. Artwork created using
CNC equipment, laser cutter, CNC ShopBot and rapid prototyping
machines may incur additional material fees based on the individual project. All other materials must be purchased by the student.
LUIS RODRIGO NAVARRO, new media artist. BBA, University of
Puerto Rico; MFA School of Visual Arts. Group exhibitions include:
Visual Arts Gallery; Museo de Arte Contemporáneo de Puerto
Rico; Galleria Francisco Oller, Puerto Rico; Casa Cruz de la Luna,
San Germán, Puerto Rico.
Metal Sculpture
FIC-2434-A
This course covers a broad range of metalworking processes,
enabling beginning and more advanced students to discover the
enigmatic qualities of metal. Instruction will be given in shop safety;
hand and power tools; MIG and TIG welding; plasma cutting and
sheet metal forming. Following a guided first project students will
develop independent projects to synergize learned skills with their
own sculptural methods, concepts and sensibilities. No previous
sculpture or metal experience is required.
NOTE: The studio fee includes safety equipment, hand tools, welding
gases, welding rods, drill bits, saw blades, abrasives, compressed
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FINE ARTS
and historical context through presentations of visual and textual
resources: slides, videos, articles, web-based online materials and
weekly updates on current exhibitions. Among the many ideas
that will be explored are perception, transformation, performance,
the body and language, as well as the environmental, political and
site-specific in art. This course is perfect for those seeking to
renew their creative work and develop a portfolio. Professional
resources will be discussed and extensive technical help will be
provided. There will be group critiques and individual instruction.
gases, welding rods, drill bits, saw blades, abrasives, compressed air,
lubricants, wood glue and access to the plaster, wood and metal
workshops outside of class time, based on facility availability. All
other materials must be purchased by the student.
ANDREW GINZEL, sculptor, visual artist. Bennington College,
SUNY. One-person exhibitions include: List Visual Arts Center,
Massachusetts Institute of Technology, Cambridge, MA; Wadsworth
Atheneum, Hartford, CT; New Museum of Contemporary Art;
Kunsthalle, Basel; Frederieke Taylor Gallery; Artists Space; Virginia
Museum of Fine Arts, Richmond; Art Galaxy; Damon Brandt
Gallery. Commissions include: Public Art Fund; Creative Time;
Merce Cunningham Dance Company; Brooklyn Academy of
Music; Kansas City Airport; Tampa Airport; Olympic Arts Festival;
Battery Park City Authority; Museo d’Arte Contemporanea, Prato;
City of Chicago, General Services Administration; Metro, St. Louis;
University of Colorado, Boulder; MTA; New Jersey Transit. Awards
and fellowships include: Pollock-Krasner Foundation; National
Endowment for the Arts; New York Foundation for the Arts; Louis
Comfort Tiffany Foundation; Indo-American Fellowship; New
York State Council on the Arts; Rome Prize Fellowship, American
Academy in Rome; Rockefeller Foundation; MacDowell Colony;
Yaddo Residency; Ucross Foundation; Dejerassi Foundation. The
instructor’s work can be viewed at: jonesginzel.com.
air, lubricants, wood glue and access to the metal workshop outside of class time, based on facility availability. All other materials
MARSHA TRATTNER, sculptor. BA, Colgate University; MFA,
Rhode Island School of Design. One-person exhibitions include:
Metal & Thread, Colgate University, Hamilton, NY; A.I.R. Gallery.
Group exhibitions include: Pelham Art Center, NY; Artists Space;
Munson-Williams-Proctor Museum of Art, Utica, NY; Exit Art;
J. Lucas Gallery, Provincetown, MA; Sculpture Center. Public
sculptures include: Socrates Sculpture Park; Franconia Sculpture
Park, MN; Sacred Heart University, Fairfield, CT; Empire-Fulton
Ferry State Park. Publications include: The New York Times, New
York Post, Veranda, Home Fashion, Provincetown Arts, Metropolitan
Home. Awards include: eBay Foundation, Empire State Crafts
Alliance, Sculpture Space. The instructor’s work can be viewed
at: marshatrattner.com.
Metal Furniture Fabrication
FIC-2438-A
This hands-on course will cover the fundamentals of designing
and making metal home furnishings and furniture. Students will
learn shop safety and a variety of techniques to cut, bend, form,
join (including welding) and finish metals. Individual assistance is
given with applying techniques to directed projects of the students’
own designs. Students with prior experience in metalworking will
work with the instructor to plan independent projects and learn
advanced techniques. Past projects have included tables, lamps,
mirror frames, shelves, trays, coat racks, candelabras, birdhouses,
bowls and planter boxes. The class is open to students of all levels,
from those with no experience with art or using tools to working
designers who need practical knowledge of the material and how
to add structure to their designs.
gases, welding rods, drill bits, saw blades, abrasives, compressed air,
lubricants and access to the metal workshop outside of class time,
by the student.
96 :: sva.edu / ce
Creative Blacksmithing
FIC-2441-A
10 sessions; 3 CEUs
$400; lab fee, $195
An introduction to the ancient art of blacksmithing, this course will
use traditional and modern tools to create forged metal objects—
functional and sculptural. Students will learn to take an otherwise
intractable material like steel and make it malleable and adaptable to
their own vision. Topics include: bending, drawing down, hot-cutting,
spreading, twisting and braiding, sheet-metal forming, hot-punching
and riveting. We will mainly use gas forges, though traditional coal
forges will be introduced during the semester. Thorough instruction
will be given in oxy-acetylene and oxy-propane torch work—heating,
cutting, welding, brazing and silver soldering. MIG and Arc welders
are also available.
NOTE: A release will be provided for each student registering
for this course. The release must be signed by the student at the
beginning of the first session. This course will be held at 106 Ferris
Street, Red Hook, Brooklyn. Access to the SVA Sculpture Center
is not included.
Creative Blacksmithing
FIC-2441-B
10 sessions; 3 CEUs
$400; lab fee, $195
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Welding: Weekend Workshop
Welding: Weekend Workshop
FIC-2452-B
Sun., Nov. 13
Hours: 10:00 am–5:00 pm
1 session; $220; materials fee $50
No Prerequisite Needed—An Introduction
to Fabrication
FIC-2467-A
Hours: 10:00 am–1:00 pm
10 sessions; 3 CEUs
The fundamentals for creating three-dimensional objects will be
the focus of this course. Demonstrated techniques and processes
will cover a broad range of materials, including metal, wood, mold
making/casting, fiberglass, silicone, plastics, resins, finishes and paint.
Students will also gain hands-on training for installation, sculpture
and prop making for films. The goal is to provide contemporary
skills to assist in the fabrication of 3D objects and environments.
Students can work on approved projects of their choosing, or
an assigned project that will be based on their creative interests.
If you want to be a “maker,” this class is for you.
equipment, drill bits, saw blades, abrasives, compressed air, lubricants
and wood glue, as well as access to the plaster, wood and metal
workshops outside of class time, based on facility availability. All
JOSEPH P. PASTOR, sculptor, designer, prop-maker. BFA, School
of Visual Arts. Group exhibitions include: Bravo Shear Genius
Premiere; Art Directors Club; Long Island Museum of American
Art, History and Carriages, Stony Brook, NY; Visual Arts Museum.
Publications include: Monumental: The Reimagined World of Kevin
O’Callaghan; People. Awards include: Grand Prize Winner, Shear
Genius Salon Chair Design, Bravo TV.
Woodworking I
FIC-2463-A
Designed to introduce students to working with wood, this course
will begin with an overview of the general properties of various
woods and give a brief history of woodworking. Demonstrations
will be given in hand joinery (dovetails), turning with a lathe and
hand-tool applications. In addition, techniques in clamping, gluing,
sanding and finishing will be addressed. Projects will include creating a lathe-turned object and a small piece of furniture (such as
a stool or table). No prior experience is necessary.
bits, saw blades, abrasives, compressed air, lubricants, wood glue
and access to the wood workshop outside of class time, based
on facility availability. All other materials must be purchased by
the student.
JAMES MURPHY, furniture designer, sculptor. BFA, SUNY
Purchase. Clients include: Kerf Furniture, The Small Furniture Store,
M3 Films, Quinto + Co., 181 Productions Inc., Quanteq Engineering,
Paris Express Café, Alice Austen House Museum. Publications include:
Elements of Living, Furniture Style, Le Journal de la Maison, Elle Decor,
Contract. Honor: Interior Design. The instructor’s work can be
viewed at: jamesmurphydesign.com.
Woodworking and Metalworking II
FIC-3458-A
This course will develop creative, technical and problem-solving
skills in woodworking and metalworking techniques in a sculptural
context. Weekly demonstrations of all shop tools will be provided,
including the table saw, sliding compound miter saw, horizontal and
vertical band saws, drill press, router table, MIG and TIG welding,
plasma cutting and sandblasting equipment. Students will learn
the fine art of sculpting metal, such as how to cut, shape, forge
and weld, as well as polishing and finishing. In the woodshop,
advanced techniques of joinery, woodcarving and finishing will be
covered. The elements and principles of design will be explored,
and good studio practices will be cultivated.
gases, welding rods, drill bits, saw blades, abrasives, compressed
air, lubricants, wood glue and access to the wood and metal work
toll-free tel. 877.242.7200 :: 97
FINE ARTS
FIC-2452-A
Sat., Oct. 15
Hours: 10:00 am–5:00 pm
1 session; $220; materials fee $50
This workshop introduces beginners to welding and some basic
metalworking skills, such as cutting and bending. It also accommodates experienced metal artists with technical support and indepth
training. The emphasis is on welding safety, and proper set-up
and maintenance of the equipment. Basic techniques in MIG,
Arc and oxy-acetylene welding will be practiced, and then applied
to simple projects.
NOTE: Please wear a long-sleeved shirt and long pants (both
100% cotton) and closed-toe shoes. A release will be provided
for each student registering for this course. The release must be
signed by the student at the beginning of the first session. This
course will be held at 106 Ferris Street, Red Hook, Brooklyn.
Access to the SVA Sculpture Center is not included.
shops outside of class time, based on facility availability. All other
materials must be purchased by the student.
SUNG JIN CHOI, fine artist; sculptor; senior technical advisor,
Sculpture Center, School of Visual Arts. BFA, MFA, Seoul
National University; MFA, Hunter College; Skowhegan School of
Painting and Sculpture. Exhibitions include: Dumbo Arts Center;
Rosenberg Gallery, New York University; Steuben South Gallery,
Pratt Art Institute; Rush Arts Gallery; Spaces, Cleveland, OH; Real
Art Ways, Hartford, CT; Front Room Gallery; Vaudeville Park;
Korean Cultural Service; M55 Gallery; Hunter College; Sculpture
Space, Utica, NY; Creative Arts Workshop, New Haven, CT. Grants
include: Gwanak Graduate Grant, Seoul National University;
Skowhegan School of Painting and Sculpture. The instructor’s
work can be viewed at: sungjinchoi.com.
FIC-2436-A
10 sessions; 3 CEUs
READY TO REGISTER?
Details on page 4
98 :: sva.edu / ce
Prototyping: Hands-On Fabrication
VLC-2568-A
7 sessions; 2 CEUs
$300; lab fee, $150
test design concepts. The focus of this course is hands-on making.
It will cover woodworking techniques, building molds for bending
plywood, customized jigs on the table saw, and various material
explorations to make a themed project (a birdhouse, for example).
Sessions will be held in the Visible Futures Lab, a state-of-the-art
rapid prototyping facility.
NOTE: The lab fee includes in-class demo materials, safety equipment, and access to tools and workstations. Additional materials
at: eatlovely.com.
Prototyping: Digital Fabrication Tools
VLC-2569-A
7 sessions; 2 CEUs
$300; lab fee, $150
test design concepts. The focus of this course is to explore a wide
range of digital fabrication processes. Through guided workshops,
students will design projects to laser cut, CNC mill and vinyl cut.
Adobe Illustrator will be the primary program used to generate
artwork files. Sessions will be held in the Visible Futures Lab, a
state-of-the-art rapid prototyping facility.
PREREQUISITE: A working knowledge of Adobe Illustrator.
NOTE: The lab fee includes in-class demo materials, safety equipment, and access to tools and workstations. Use of laser cutters,
CNC router, and other digital fabrication machines may incur
additional fees. All other materials must be purchased by
the student.
at: eatlovely.com.
INTERDISCIPLINARY AND NEW MEDIA COURSES
Exploring Multimedia
The Wonderful World of Cells
FIC-2612-A
Sun., Sept. 25–Oct. 30
Hours: 10:00 am–1:00 pm
Microscopes are wonderful tools for observation and have revolutionized our understanding of cells and subcellular structures.
With photographic attachments, these instruments provide amazing images that transcend science into art. Spectacular renderings
can often be made by simply placing the specimen under the
microscope. In other instances specimens may require preparation,
including tissue fixation, embedding, sectioning and mounting on
slides, among others. During this course we will explore techniques
used to prepare tissue for microscopic imaging. Focusing on the
enhancement of various cell structures, we will use stains to tease
out intricate details, such as the cell membrane, the nucleus,
DNA, proteins, and other organelles that make up cellular domains
and tissue architecture. Prepared samples will be photographed
using both stereo and compound microscopes to generate a
professional high-end portfolio.
JOSEPH DEGIORGIS, marine biologist. BS, Florida Institute
of Technology; PhD, Brown University. Publications include:
Cytoskeleton, Molecular Biology of the Cell, Traffic, PNAS, Journal
of Proteomic Research.
The Wonderful World of Cells
FIC-2551-A
FIC-2612-B
Sun., Nov. 6–Dec. 18
Hours: 10:00 am–1:00 pm
toll-free tel. 877.242.7200 :: 99
FINE ARTS
FIC-2548-A
This course is designed to strengthen and expand your art-making
skills and ideas through a creative exploration of traditional and
unconventional materials. We will focus on the endless possibilities
of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and
sculpture. Sound, gravity and magnetism can also be incorporated
into projects. Broad suggested assignments are given to kick-start
your thinking. Experimentation and failure are encouraged. Through
group and individual critiques we will examine the universal and
personal signification of the materials, how those can change in
combination and how they can help define your interests and form
a unique voice. We will also look at the ways collage, assemblage
and installation have developed to expand your critical vocabulary
and give you a sense of where your work fits in this history. This
course is appropriate for all ranges of experience, from beginners
to advanced students.
NOTE: Please bring notepaper and five objects selected at random
to the first session. Access to the SVA Sculpture Center is
not included.
Botanica: Imaging the Green Planet
FIC-2614-A
Plants are among the most diverse organisms on the planet,
growing in arid deserts and rain forests, on mountaintops and
in the savannahs, as well as in marshes, lakes, rivers and the seas.
They can take on beautiful forms with vivid colors and highly
evolved features. While they are often thought of as almost inert
objects, they can exhibit elaborate behaviors such as opening their
blossoms at dawn, tracking the sun as the earth rotates, or baiting
and trapping insects as a source of food. In this course, we will
capture photographic representations of these lush life forms
and explore the beautiful and bizarre world of plants and take an
in-depth look at the intricate composition of their sexual structures,
roots, vascular tissues and the photosynthetic machinery that
create these primary producers. In particular, we will use timelapse imaging to capture their movements, macro lenses to obtain
images of their details, and microscopes to image tissues and
cells. The fun begins as we focus on these unrelenting worshipers
of the sun.
Botanica: Imaging the Green Planet
FIC-2614-B
Sat., Nov. 5–Dec. 17
Biological Imaging: The Use of Microscopy to
Observe and Photograph Life
FIC-2616-A
Hours: 11:00 am–2:00 pm
Capturing images of nature and biological phenomena is an essential
component of the scientific process; it is also an intricate aspect
of art. In this course we will utilize macro lenses and dissecting
stereo microscopes, as well as compound and fluorescent microscopes to obtain images of the microscopic world. Students will
photograph marine invertebrates, including sea urchins, starfish,
tunicates, comb jellies, anemones and sponges. Under the highmag objective, we will image zooplankton and phytoplankton
from marine and freshwater samples, and tissues prepared with
our hands for microscopic observations. Students will develop a
portfolio of images through projects that can include still life,
video, time-lapse imaging, stereo pairs of 3D images, focal stacking
and high-dynamic range photography. See what you can discover
under magnification.
100 :: sva.edu / ce
Biological Imaging: The Use of Microscopy to
Observe and Photograph Life
FIC-2616-B
Hours: 11:00 am–2:00 pm
Electronics and Arduino Microcontroller for Artists
FIC-2642-A
This course is an introduction to electronics, for fine artists,
sculptors, installation and performance artists, as well as those
who want to add computer-controlled elements to their creations.
Using the Arduino microcontroller, we will explore some of the
essential and useful electronic sensors (light, sound, motion, sonar,
infrared, angle bending), powerful actuators (relays, motors,
servomotors, stepper motors, muscle wires and solenoids, among
others), and telecommunication tools for microcontrollers (radio
frequency transmitters, Bluetooth, Ethernet). This is a practical
course and does not include theory. Class time will be allocated
to help students work on their projects. We will also cover how to
incorporate other mediums into these projects, including video,
wood, metalworking and mechanical applications.
bits, saw blades, abrasives, compressed air, lubricants and wood
glue, as well as access to electronic media workstations and the
wood and metal workshops outside of class time, based on facility
availability. All other materials must be purchased by the student.
FEDERICO MUELAS ROMERO, new media artist. BFA, Universidad
de Castilla; MFA, School of Visual Arts. Group exhibitions include:
Ars Electronica, Linz; Stuttgart Filmwinter Festival; Japan Media
Festival, Tokyo; ARCO 2005, Madrid; Metronom, Barcelona;
PS122; Location One; Electrohype Biennial, Malmö, Sweden;
PikseliACHE Festival, Helsinki; New Jersey Film Festival; Cuban
Digital Salon, Havana; Katzen Arts Center, American University,
Washington, DC. Publications include: NY Arts, Rhizome Digest,
Neo2 Magazine, Tentaciones, El País, El Ciberpais, Metro, Art of the
Digital Age. Awards include: New York Foundation for the Arts,
Life 7.0, SGAE, La Caixa, Spanish Cultural Council, UNESCO,
Experimental Television Center. The instructor’s work can be
viewed at: federicomuelas.com.
Introduction to Fiber Art and Costumes
FIC-2522-A
10 sessions; 3 CEUs
This course will explore fiber art as individual art practice. Students
will learn how to design and fabricate costumes, soft sculpture,
installations, and other fiber-based projects. These can be exhibited
as art, or used in performances, video art, film and photographs.
The primary focus of the course is for students to work on designing and creating their own projects with guidance from the
instructor. Demonstrations will include designing and adapting
patterns, sewing techniques, digital embroidery, printing and
painting on fabric, and other fibers techniques. We will also look
Digital Sculpture
FIC-2687-A
Making sculptures using computer-aided fabrication and rapid
prototyping machines is the focus of this course. Students will
be guided in how to make templates for sculptures using Adobe
Illustrator and SolidWorks, and how to use machines like the
Epilog laser cutter and the CNC ShopBot to create fully realized
3D objects from their designs. These technologies offer the ability
to execute intricate and precise designs that would be impossible
or too time-consuming using traditional techniques. Students will
have the opportunity to work in a wide variety of materials such
as wood, acrylic glass, Plexiglas, aluminum and foam. Turn your
ideas into objects with the precision of laser and CNC technology.
NOTE: The studio fee includes safety equipment, welding gases,
welding rods, drill bits, saw blades, abrasives, compressed air,
lubricants and wood glue, as well as access to electronic media
workstations and the plaster, wood and metal workshops outside
of class time, based on facility availability. Artwork created using
CNC equipment, laser cutter, CNC ShopBot and rapid prototyping
machines may incur additional material fees based on the individual project. All other materials must be purchased by the student.
LUIS RODRIGO NAVARRO, new media artist. BBA, University of
Puerto Rico; MFA School of Visual Arts. Group exhibitions include:
Visual Arts Gallery; Museo de Arte Contemporáneo de Puerto
Rico; Galleria Francisco Oller, Puerto Rico; Casa Cruz de la Luna,
San Germán, Puerto Rico.
Digital Embroidery
FIC-3621-A
Digital embroidery transforms handcrafted couture into a fine arts
medium. Just like a tattoo, where an image is created with color
and needles, the embroidered fabric or paper is needle-stitched
in colored threads. The image is a sewing file that can be saved
and re-sewn as a multiple or repeat pattern. Working on a designer
Husqvarna Viking sewing machine with oversize hoops, students
will use Husqvarna Viking 5D embroidery software to sew out
their original designs. Techniques related to both fashion and the
fine arts will be explored.
JUDITH SOLODKIN, printmaker; Tamarind master printer;
president, Solo Impression Inc. BA, Brooklyn College; MFA,
Columbia University. Editions printed for artists are included in
museum collections such as The Metropolitan Museum of Art;
Whitney Museum of American Art; Museum of Modern Art;
Milwaukee Art Museum; Getty Art Museum; National Museum
of Women in the Arts; National Gallery of Art, Washington, DC;
Brooklyn Museum; Baltimore Museum of Art; Bibliothèque
Nationale, Paris; Tate Gallery, London. Collaborations with and
prints for: Ghada Amer, Louise Bourgeois, Howard Hodgkin,
Whitfield Lovell, James Rosenquist.
The City Through the Body
VSC-2243-A
The cultural theorist Siegfried Kracauer claimed, “one’s body takes
root in the asphalt.” This course begins with that claim to explore
sensuous encounters in and with the city. Particular sounds,
visions, textures, smells and tastes situate cities as sensory environments that cultivate hedonism, pleasure and desire. We will look at
how bodies and senses can order space and configure experience.
Course material draws from social theory, art, film, music and
literature. We will use the city as laboratory, taking advantage of
our surroundings as an extension of the classroom and will divide
class time between discussions, workshops, field trips and projectbased work. Students will complete a series of small exercises
leading to a larger project of their choice and that explores the
interface between bodies and cities. The projects, although mainly
studio-based, will ask students to develop, through writing, a critical discourse to accompany their portfolio work. This will allow
students to present their own practice in a variable set of social
and cultural dynamics conversant with a variety of fields, including
the social sciences, philosophy, design, architecture and art.
NOTE: Open to all students; no previous knowledge of the topics
or specific skills are required.
and honors include: Andrew W. Mellon Foundation; The
Graduate Institute for Design, Ethnography & Social Thought,
The New School for Social Research; University of Amsterdam.
Art; Rincón Projects, Bogotá; Abrons Arts Center; El Museo de
los Sures; White Box; Artium Museum, Vitoria-Gasteiz, Spain;
toll-free tel. 877.242.7200 :: 101
FINE ARTS
at examples of fiber art and costumes by various artists and
designers, and discuss ideas about fibers in contemporary art.
NOTE: The studio fee includes use of the sewing machines in the
Fibers Lab. All materials must be purchased by the student.
AIMEE MORGANA, fine artist, video artist, scientific researcher.
BA, Southern Illinois University; MFA, San Francisco Art Institute;
Whitney Museum Independent Study Program. One-person
exhibitions include: American Fine Arts; Institute of Contemporary
Art, Boston; Pat Hearn Gallery; Michael Kohn Gallery, Los Angeles.
Screenings include: Palais de Tokyo, Paris; Royal Society of the
Arts, London; Anthology Film Archives; Whitney Biennial; Institute
of Noetic Sciences; Cambridge University, England; American
Cinemathèque, Hollywood; Wildscreen Festival, U.K.; American
Museum of Natural History. Publications include: Artforum, USA
Today, Art in America, Journal of the Society for Scientific Exploration,
Installation Art, Times of London, ARTnews, The New York Times, Art
and Feminism. Awards and honors include: New York Foundation
for the Arts, Pollock-Krasner Foundation, Louis Comfort Tiffany
Foundation, Lifebridge Foundation, Bial Foundation Research
Fellowship. Artist residency, P.S.1 Contemporary Art Center. The
instructor’s work can be viewed at: sheldrake.org/nkisi.
Color Theory Workshop: Life Beyond Black, White
and Red
DSC-1014-A
Hours: 10:00 am–6:00 pm
Artists and designers often look for ways to expand their color
awareness. This search leads to questions: Why do certain color
combinations seem harmonious? Why does the appearance of a
color change depending on its background? Why does the extent
of a color make a composition seem balanced or imbalanced?
The answers to these and other questions can be discovered in this
workshop through experimenting with the traditional principles
of color theory. Presentations, demonstrations, hands-on experiments and discussions will all be part of our exploration of the
classic color teachings of Johannes Itten (the seven color contrasts),
Josef Albers (color relativity) and Albert Munsell (color systems).
Students will work with colored paper, gouache paint and found
materials. In addition, those with computer skills will be encouraged
to explore digital color tools like Adobe Color. Students will
complete the workshop with a greater awareness of color and
the knowledge gained from personal experimentation with key
color theory concepts.
NOTE: A supply list will be distributed upon registration in
this course.
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PRINTMAKING COURSES
Students registered for printmaking courses have access to the printmaking facilities outside of class hours, based on facility availability.
Silkscreen: The Artist’s Book Series
FIC-2806-A
Hours: 7:00 pm–10:00 pm
This course will explore various ways to present prints as sequential
images: artists’ books, themed portfolios, comics, even fanzines.
We will explore the process from concept to finished and bound
multiples. Students will learn methods of making color separations
for multicolor prints using both traditional hand-drawn and
modern photographic techniques. Bookbinding techniques will be
demonstrated, including Japanese binding, accordion folding and
signature binding.
DOMINICK RAPONE, printmaker; illustrator; president, Beastly
Prints Artist Editions; printshop manager, BFA Fine Arts
Department, School of Visual Arts. BFA, School of Visual Arts.
Group exhibitions include: Adrienne/Adrian’s; Art Directors Club;
Visual Arts Gallery; Westchester Gallery; Rubin Museum of Art;
Studio 12N; New York Society of Etchers; C.A.M Gallery, Istanbul;
Sacred Gallery; Pera Museum, Istanbul; Siren’s Song Gallery,
Greenport, NY; Herbert F. Johnson Museum of Art, Cornell
University; Monmouth Museum, NJ. Publications include: Fast
Company, INC, Stocks and Commodities, Atlantic Monthly, Women’s
Health, American Illustration, The New York Times, The Flag Project,
100 Artists of the Mid-Atlantic, Octet, Input.
Silkscreen
FIC-2812-A
Hours: 7:00 pm–10:00 pm
Silkscreen, one of the most versatile and widely used methods of
printmaking, will be fully explored in this course through demonstrations and self-initiated projects. Painters as well as photographers
will find a new way of expressing their ideas through screen printing.
Images can be made using hand-drawn separations, photographic
film, digital separations and photocopied images. Large-scale work
and printing on canvas, T-shirts, wood, metal and glass are all possible with silkscreen. Water-based silkscreen ink is used, allowing
for soap-and-water cleanup. Large-scale digital output is available.
GUNARS PRANDE, printmaker; director of operations,
printmaking facilities, School of Visual Arts. BFA, MFA, School
of Visual Arts; Rochester Institute of Technology. One-person
exhibition: Namba City Museum, Japan. Group exhibitions include:
Pera Museum, Istanbul; Visual Arts Gallery; New York Society of
Etchers; Galerie Aelier Herenplaats, the Netherlands; Altos de
Chavon, Dominican Republic; Mission Gallery; Bill Rice Gallery;
Leo Castelli Graphics Gallery; John Nichols Print Gallery; Bennet
Siegal Gallery; Sarah Lawrence College, Bronxville, NY; John
Gerstad Gallery.
Silkscreen: Fine Art and Design
FIC-2812-C
Hours: 7:00 pm–10:00 pm
See FIC-2812-A for course description.
FIC-2814-A
Silkscreen is one of the most immediate of all print media. It
appeals to the graphic designer with ability to produce bold colors
and striking compositions. It appeals to the fine artist for its ability
to produce subtle nuances of color and form. Tired of computergenerated imagery? Hand-drawn images are basic to silkscreen
technique. Tired of hand-drawn work? A state-of-the-art computer
lab complete with multiple programs, scanner and printers is
available. Just about any image can be made into a silkscreen.
Students can print multicolored editions or just one-of-a-kind.
A vast assortment of materials can be used, including paper,
canvas, metal, wood, plastic, vinyl, cotton and Mylar. Water-based
silkscreen ink will be used, allowing for soap-and-water cleanup.
CHARLES YODER, printmaker, painter, writer, curator. BFA,
Pratt Institute. Professional experience includes: Director, Castelli
Graphics; project curator, Rauschenberg Overseas Culture
Interchange. One-person exhibitions include: Mattatuck Museum,
Waterbury, CT; Woodward Gallery; University of Maine, Orono;
Haenah-Kent Gallery; Texas A&M University, Corpus Christi.
Group exhibitions include: Dada Post, Berlin; Leo Castelli Gallery;
Rubin Museum of Art; Guild Hall, East Hampton, NY; Philadelphia
Art Alliance; DFN Gallery; Gestaltreform Galerie, Frankfurt; Vose
Gallery, Boston; Pera Museum, Istanbul; Silas Marder Gallery,
Bridgehampton, NY; Hudson River Museum, Yonkers, NY.
Silkscreen
FIC-2812-D
Hours: 7:00 pm–10:00 pm
DONALD M. SHERIDAN, printmaker, publisher. Professional
experience includes: Assistant to Rupert Jasen Smith, master
silkscreen printer for Andy Warhol. Represented by: Dorfman
Projects. Artist editions include: Larry Zox, Dan Christiansen, Larry
Poons, Robert Rauschenberg. Artists who have developed work
at his studio include: Judy Glantzman, William Anastasi, Tishan
Hsu, Martin Wong, Mark Kostabi, Christopher Makos, Alfredo
Jaar, Matthew Weinstein. The instructor’s work can be viewed
at: dmsfinearts.com.
Silkscreen
FIC-2812-E
Hours: 10:00 am–1:00 pm
DONALD M. SHERIDAN, printmaker, publisher. Professional
experience includes: Assistant to Rupert Jasen Smith, master
silkscreen printer for Andy Warhol. Represented by: Dorfman
Projects. Artist editions include: Larry Zox, Dan Christiansen, Larry
Poons, Robert Rauschenberg. Artists who have developed work
at his studio include: Judy Glantzman, William Anastasi, Tishan
Hsu, Martin Wong, Mark Kostabi, Christopher Makos, Alfredo
Jaar, Matthew Weinstein. The instructor’s work can be viewed
at: dmsfinearts.com.
Silkscreen Projects
FIC-2817-A
Hours: 7:00 pm–10:00 pm
This advanced course will concentrate on the use of silkscreen to
realize personal projects, print editions, multiples, posters and portfolio
pieces. Emphasis will be placed on concept, material choices and
craft. The use of hand-drawn, photographic, photocopied and
digital color separation techniques will be introduced. Water-based
silkscreen ink will be used, allowing for soap-and-water cleanup.
Large-scale digital output is available in the printshop. A basic
knowledge of silkscreen techniques is suggested.
GUNARS PRANDE, printmaker; director of operations,
printmaking facilities, School of Visual Arts. BFA, MFA, School
of Visual Arts; Rochester Institute of Technology. One-person
exhibition: Namba City Museum, Japan. Group exhibitions include:
Pera Museum, Istanbul; Visual Arts Gallery; New York Society of
Etchers; Galerie Aelier Herenplaats, the Netherlands; Altos de
Chavon, Dominican Republic; Mission Gallery; Bill Rice Gallery;
Leo Castelli Graphics Gallery; John Nichols Print Gallery; Bennet
Siegal Gallery; Sarah Lawrence College, Bronxville, NY; John
Gerstad Gallery.
toll-free tel. 877.242.7200 :: 103
FINE ARTS
Silkscreen
Silkscreen for Illustrators
FIC-2824-A
This course is for those interested in both silkscreen and drawing.
Students will learn the process of silkscreen as well as various
methods of making color separations to optimize their drawings
for the medium. Starting from hand-drawn and digital images,
separation techniques for both opaque and transparent color will
be explored. Projects include posters, mini-comics, postcards,
T-shirts and zine covers.
SARA VARON, illustrator. BFA, School of the Art Institute of
Chicago; MFA, School of Visual Arts. Books include: Chicken and
Cat, Chicken and Cat Clean Up, Sweaterweather, Robot Dreams. Clients
include: The New York Times, Nickelodeon magazine, Scholastic, First
Second Books, UNICEF, Walker Art Center, Roaring Brook Press.
The instructor’s work can be viewed at: chickenopolis.com.
Silkscreen: Screen Printing From T-Shirts to Posters
FIC-2874-A
NEW
Printed graphics are everywhere, from retail stores to city streets.
Learn how to screen print for fun and profit. Print your designs on
T-shirts, posters, stickers, and more. This hands-on course will
explore the use of screen printing processes to bring your designs
to life. We will look at the different possible ways of creating color
separations, how to expose screens and then print your designs.
Additionally, this course will look at the various ways available to
distribute and sell your printed artworks.
NICK PAPARONE, visual artist, principal, Print Liberation Inc.
Professional experience includes: Art director, Urban Outfitters;
print fellow, Fabric Workshop and Museum. Co-author: Print
Liberation: The Screen Printing Primer, Hang On To Your Hot Lights;
contributor, White Zinfandel. Exhibitions include: SculptureCenter;
Socrates Sculpture Park; With Projects, Inc.; Fleisher/Ollman
Gallery, Philadelphia; Institute of Contemporary Art, Philadelphia.
The instructor's work can be viewed at nickpaparone.com.
Japanese Woodblock Printing
FIC-2837-A
Hours: 7:00 pm–10:00 pm
The Edo period of Japan was from 1600 to 1860. During this
period the Japanese cut off all diplomatic ties with the rest of the
Western world. As a result of their isolation, the artists and artisans
of Japan developed a new and unique way of printing called
“moku hanga” (wood printing), which produced an art movement
called “Ukiyoe.” When these brightly colored prints reached
Europe they had a profound affect on Western art and culture.
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The techniques of this printmaking process differ from Western
printmaking processes because it is entirely water based and
non-toxic, similar to a printed watercolor. Students will explore
different techniques of printing and be encouraged to create their
own art in this medium. Additionally there will be a variety of
demonstration on carving, tool sharpening and color printing
techniques. This medium of printmaking can also be easily and
safely done in your own home with a small variety of hand tools.
CHRISTOPHER T. CREYTS, master printer. BFA, University of the
Arts. Artist collaborations have included: Helen Frankenthaler, Al
Held, Arturo Herrera, Alex Katz, Roy Lichtenstein, Vik Muniz,
David Salle, Kiki Smith, Donald Sultan, Richard Tuttle. Print editions
for: Museum of Modern Art; National Gallery of Art; Walker Art
Center; Tate Gallery; National Gallery of Art, Canberra, Australia;
Singapore Art Museum.
Monoprint, Woodcut, Linoleum
FIC-2841-A
Hours: 7:00 pm–10:00 pm
This course will explore the richness and graphic qualities of
monoprint, linocut and woodcut. These various techniques share
a direct method of working, from carving surfaces to painting
and drawing images. The use of line, shape and contrast will be
emphasized through work in linoleum and woodcut printing. Images
will be carved into the block, the surface inked and transferred to
paper. Color will be applied using the separation techniques of
reduction printing and color overprinting. Monoprints begin with
drawing and painting directly on blank plates and transferring the
result to paper. Every monoprint created is unique, resulting in
large, direct, painterly prints. The different ways of applying color
in this technique will be fully explored including color overlays,
overprinting and stencil techniques. All processes will be demonstrated
and applied through printing sessions and critiques.
Fine-Art Lithography from Stone and
Photographic Plates
Etching Workshop
FIC-2858-A
Hours: 10:00 am–1:00 pm
The many ways of working with traditional and contemporary
techniques to create linear, tonal, painterly and photographic
images will be explored in this course. Traditional techniques include
drypoint for velvety lines, hard ground for pen-and-ink effects,
soft ground for crayon and chalk-like lines, aquatint for charcoal-like
tones, and white ground and lift grounds for the quality of watercolor. These can be combined on a single plate or with multiple
plates to build up the image. Separations for multiple-plate printing
will be demonstrated. Inking techniques include black-and-white
and color intaglio, surface rolls, viscosity inking, stenciling, and
chine collé for added color and texture. Collagraphs, carborundum
prints, monoprints, Xerox transfers, embossing and offsetting
methods will be shown, along with photo-etching processes in
which hand-drawn, painted and photographic images can be
transferred to the metal. Print on various papers, canvas, silk and
other materials. Create one-of-a-kind prints, editions and artists’
books from this versatile, inventive medium. Think it, ink it, print it.
ELAINE BREIGER, printmaker. BFA, The Cooper Union. Oneperson exhibitions include: Pace Gallery; Martha Jackson Gallery;
Contemporary Gallery, Dallas; Glaser Gallery; Source Gallery, San
Francisco; Westchester Gallery; Silicon Gallery, Philadelphia.
Group exhibitions include: Library of Congress, Washington, DC;
Susan Teller Gallery; Luise Ross Gallery; SAGA; Smithsonian
Etching: Illustrating Books with Prints
FIC-2864-A
Hours: 7:00 pm–10:00 pm
How to use printmaking as a viable approach for illustrating magazines
and fine books is the focus of this course. Students will be introduced
to basic etching and monoprint techniques, including hard ground,
soft ground, aquatint and color printing. Students will be encouraged
to select or develop a story and then to illustrate it with the techniques
they find most interesting. Artists past and present who used
printmaking as an illustration technique will be discussed and studied.
BRUCE WALDMAN, illustrator; printmaker; designer. BFA,
Philadelphia College of Art; MFA, SUNY Buffalo. Group exhibitions
include: Sacred Gallery; National Arts Club; Pyramida Center for
Contemporary Art, Haifa; Pelham Art Center, NY; Museum of
American Illustration; Jerusalem Print Workshop, Israel. Collections
include: The Metropolitan Museum of Art; The New York Public
Library; Art Institute of Chicago; New-York Historical Society, The
Royal Collection, London; Library of Congress; New York Transit
Museum; Housatonic Museum of Art, Connecticut. Books illustrated
include: Iron John; Primate Behavior; The Works of Georg Buchner; The
Gift of Asher-Lev; The Road to Wellville; The Waterworks; The Agony
and the Ecstasy. Publications include: Art in America, Printmaking Today,
Step-by-Step, American Artist, Society of Illustrators. Awards include:
Silver Medal, Society of Illustrators; Jerome Foundation. Board
member: Robert Blackburn Printmaking Workshop/Elizabeth
Foundation for the Arts, New York Society of Etchers. The
instructor’s work can be viewed at: brucewaldman.com.
Letterpress: An Introduction
FIC-2867-A
Letterpress is versatile and adaptable, and mixes easily with other
printmaking processes. Through hand typesetting vintage metal
and wood typefaces, students will gain a broader understanding
of typography. Printing blocks and plates range from completely
manual, hand-cut and collaged, to digital photopolymer plates.
Accurate color registration is simple and easy. The image can
range from hard edge to feathered and painterly, and the relief
impression adds a third dimension. Operation and maintenance
of different kinds of letterpress is included. Sessions begin with a
demonstration followed by studio time to work on projects that
range from type-based graphic designs to fine art limited editions.
DIKKO FAUST, typographer; letterpress printmaker; founder,
Purgatory Pie Press. Group exhibitions include: Victoria & Albert
Museum, London; The Metropolitan Museum of Art; Harvard
University, Cambridge, MA. Collections include: Tate Gallery;
National Gallery of Art, Washington, DC; Corcoran Gallery; Walker
Art Center; New York Public Library; Museum of Modern Art.
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FINE ARTS
FIC-2844-A
Fine-art lithography is a subtle, tonal and direct method of printmaking. Its immediacy is demonstrated by drawing with grease
pencil, crayon or liquid tusche directly on lithographic limestone
or film. This course will explore both traditional and digital
lithographic techniques in transferring images from photographs
and digital files to photographic plates, as well as drawing directly
on lithographic limestone. Multiple transparent colors that are
hand-printed from the plates or stones yield rich overlays and
complex colors. All aspects of proofing and editioning fine-art
lithographs will be demonstrated. The goal is to create a visual
merging of traditional and digital technologies in small editions
of hand-printed lithographs
JUDITH SOLODKIN, printmaker; Tamarind master printer;
president, Solo Impression Inc. BA, Brooklyn College; MFA,
Columbia University. Editions printed for artists are included in
museum collections such as The Metropolitan Museum of Art;
Whitney Museum of American Art; Museum of Modern Art;
Milwaukee Art Museum; Getty Art Museum; National Museum
of Women in the Arts; National Gallery of Art, Washington, DC;
Brooklyn Museum; Baltimore Museum of Art; Bibliothèque
Nationale, Paris; Tate Gallery, London. Collaborations with and
prints for: Ghada Amer, Louise Bourgeois, Howard Hodgkin,
Whitfield Lovell, James Rosenquist.
Institution, traveling exhibition; Albright-Knox Art Gallery, Buffalo;
Las Cruces Museum of Fine Art, NM; International Print Triennial
traveling exhibition, Krakow; Francesca Anderson Fine Art,
Lexington, MA; Danforth Museum of Art, Framingham, MA.
Awards include: National Endowment for the Arts, CAPS.
Letterpress: Image and Text
FIC-2873-A
This course will explore the many image making possibilities
available through letterpress printing. Metal and wood type will
be used for text; photo-polymer plates, linoleum and woodcuts,
collage prints, collagraphs, and even the letterforms themselves
will be incorporated for creating images. Students will learn to
create photo-polymer plates from digital files, and print using
traditional letterpress equipment. Multiple-color printing, pinpoint
registration and several easy book forms will be covered.
Letterpress: Beyond Type Weekend Workshop
FIC-2882-A
Hours: 10:00 am–3:30 pm
NEW
2 sessions; 1 CEU
This hands-on workshop will focus on nontraditional, painterly
relief printmaking techniques adapted for letterpress. If it fits on
the press (under 14x22" and less than an inch thick) we can print
it. Keys, coins, string, pieces of wood trim, plastic, bubble wrap
and window screening—you name it. We will play with moire and
interference patterns, shifts and “kaleidoscope” prints, ink transparency and overlay. The first day concentrates on demonstrating
possibilities, the second on your individual experiments.
NOTE: All levels welcome, some letterpress or relief printmaking
experience helpful.
inks that are permanent and washable for professional results. Print
on canvas, T-shirts or totes, or start your own T-shirt business
and know what to buy and where to buy it.
LARRY B. WRIGHT, master printer, Larry B. Wright Art
Productions. Represented by: Keys Gallery, Sag Harbor, NY.
Professional experience includes: Assistant to Robert Rauschenberg;
co-founder, art director, WTC News. Clients have include: Joseph
Kosuth, Romare Bearden, Larry Zox, Dan Christensen, Larry
Poons, Keith Sonnier, Art Spiegelman, Malcolm Morley, Meyer
Vaisman, Donald Baechler, Al Taylor, Sarah Charlesworth, David
Prentice, Leo Castelli Gallery, New York Graphics Society.
Drypoint and Trace Monotype
FIC-2878-A
Hours: 7:00 pm–10:00 pm
This course introduces techniques that can bring new dimension
to your drawings and paintings. Students will create drypoints
with velvety and silvery lines and tones worked directly into a
printing plate. Chine collé will be combined with drypoint to
incorporate colors and shapes into the final print by simply using
colored paper. We will also explore trace monotype, a simple
and direct process that combines drawing and printmaking.
The immediacy of the technique allows for multiple prints to be
made relatively quickly, permitting a fresh exploration of line,
mark and gesture. Negative and positive tracing monotypes will
also be examined, and students will create prints done with and
without a press. Methods for modifying inks and paper choices
are included. Demonstrations will be followed by studio time and
individual assistance.
NOTE: No previous printmaking experience is necessary.
CARLOS PISCO, president, eyepop.com; printmaker; designer.
BS, Instituto Militar de Engenharia, Brazil. One-person exhibitions
include: Amos Eno Gallery, Archive Health and Fitness Center,
Mega Fitness. Group exhibitions include: National Institute of
Photography, Rio de Janeiro; Leslie-Lohman Gallery; 750 Gallery,
Sacramento, CA; Visual Arts Gallery. Clients include: Time Inc.
New Media, PBS, Mesh Strategies.
Textile Printing: An Introduction
FIC-2876-A
This course is geared toward fine artists, illustrators, graphic
designers and emerging fashion designers. Various methods of
printing on fabric (from silkscreen to block printing and stencils),
step-and-repeat color separation used for bolts of fabric and
“engineered” images for pre-made piece goods such as jackets,
hats and patches will be demonstrated. Students will use textile
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RISO Printing: An Introduction
FIC-2879-A
Hours: 10:00 am–3:30 pm
2 sessions; 1 CEU
Trace monotype is a simple and direct process that combines
drawing and printmaking. Edgar Degas, Paul Klee and Paul Gauguin
are among the artists who incorporated this technique in their
work. The immediacy of the process allows for multiple prints to
be made relatively quickly, permitting a fresh exploration of line,
mark and gesture. In this workshop we will explore negative and
positive tracing monotypes, and create prints done with and
without a press. We will discuss methods for modifying inks and
paper choices.
NOTE: Please bring prints, photographs or drawings to serve as
reference material to the first session. No prior experience necessary.
VNC-1577-A
Risograph Duplicator printing technology combines the vibrant
spot colors of silkscreen, the high resolution and speedy mass
production of offset lithography, and the user-friendly automation
of an advanced color copier. These compact machines can function
as a print shop in a box. Their ease of use, print quality and low
overhead costs make them extremely popular among independent
publishers, zine makers, graphic designers, photographers, and
others who are interested in making quick and vibrant editions on
paper. In this course, students will be given a thorough overview
of Risograph printing and its range of printing techniques. Each
student will generate a portfolio of various Risograph projects in
the form of print editions, zines, cards, promotional fliers, and
other printed matter.
NOTE: This course includes access to the RisoLAB only; access to
the 5th floor printmaking facilities is not included.
PAUL JOHN, director, Endless Editions; printer, Robert
Blackburn Printmaking Workshop. BA, University of Richmond;
MFA, SUNY New Paltz. Group exhibitions include: Ljubljana
Biennial, Slovenia; Disjecta Contemporary Arts Center, Portland,
OR; Alfred University, NY; Eyebeam; Printed Matter. Clients
include: Condé Nast; Columbus Museum of Art, OH; Outdoor
Voices; Picture Room: McNally Jackson Store; Bruce High Quality
Foundation University; Partnership for a Healthier America;
Keap BK; Bon Appétit. Publications include: SPRTS; Attempt for
Pure K; Trapper Keeper; Packet Biweekly. Awards and honors include:
Sojourner Truth Fellowship, SUNY New Paltz; Transitional Artist
Award, Kimmel Harding Nelson Center for the Arts; Printer
Without Press Fellowship, Robert Blackburn Printmaking Workshop.
The instructor’s work can be viewed at: endlesseditions.com.
The Painterly Figure:
A Monotype Weekend Workshop
FIC-2886-A
Hours: 10:00 am–3:30 pm
NEW
2 sessions; 1 CEU
This workshop will use the model as a subject matter as we explore
the fundamentals of monotype. The immediacy of monotypes
allows for multiple prints to be made relatively quickly, permitting
a fresh exploration of line, mark and gesture. On the first day,
trace monotype will be introduced—a simple and direct process
that combines drawing and printmaking, and students will practice
additive and subtractive techniques. We will create prints with and
without a press and discuss methods for modifying inks, paper
choices, color overlays, overprinting and stencil techniques. On
the second day, the techniques covered will be applied to create
monotypes from a live model.
NOTE: No previous printmaking or drawing experience is required.
RISO Printing: Zines and Small Publishing
VNC-2239-A
The past few years have seen an explosion of zines and small
publishing among artists, designers and photographers. Even the
most digitally based creative professionals are embracing the zine
as a vital tool for experimentation, collaboration and communication. The Risograph Duplicator has emerged as a medium of choice
for zine publishing. This technology fuses analog and digital printing techniques, combining the vibrant colors of silkscreen printing
with the speed and automation of digital and offset printing. In
this course students will be given a rigorous introduction to this
medium and how to use it effectively as a tool for self-publishing.
We will explore color, form, layout and pagination, and how
to communicate ideas in book form. Class assignments will act
as conceptual sparks to point students in new directions. In addition,
toll-free tel. 877.242.7200 :: 107
FINE ARTS
Tracing Monotype Weekend Workshop
collaborative projects among classmates will foster creative crosspollination. Students will complete several zine editions, and
discover that producing a simple pamphlet in an edition can be
an empowering act—a way of multiplying one’s vision and spreading
it out into the world.
PANAYIOTIS TERZIS, Risograph technician, RisoLAB, School
of Visual Arts; owner, Mega Press. BFA, MFA, School of Visual
Arts. One-person exhibitions include: Printed Matter, Inc.; AMP
Works, Athens. Group exhibitions include: Robert Rauschenberg
Foundation; Ed. Varie; Allegra LaViola Gallery; Endless Editions;
Exit Art; Art Basel; Pera Museum, Istanbul; NADA Art Fair; Open
Space Gallery; Andreas Melas Presents, Athens; OMMU, Athens;
ABC No Rio; Projekt722; No. 12 Gallery, Tokyo; Galerie Atelier
Herenplaats, Rotterdam; Dieschönestadt Gallery, Berlin; Visual
Arts Gallery. Collections include: Museum of Modern Art Library,
Brooklyn Museum, New York Public Library, Stanford University
Library. Illustration/design clients include: American Apparel;
VICE; Printed Matter, Inc.; Digitaria; Threadless; Crudlabs.
Publications include: Creeps Annual, Vision Zero, ZMAPP, Trapper
Keeper, Spectrum Test, Cosmos Zine, Megalith, Time Tunnels, 100
Artists of the Mid-Atlantic, Bad Stones, Zine Soup, Salt Hill Literary
Anthology, Modern Spleen Comics, Gigantic Worlds. The instructor’s
work can be viewed at: pengoat.com.
From Selfie to Self-Portrait: Creating a Visual Memoir
VCC-2156-A
Hours: 6:00 PM–8:00 PM
Every artist has a story. A selfie is a moment of this story. The aim
of this course is to give the selfie context and continuity—a home.
We need a home to become mindful of our artist narrative, the
story we tell ourselves about ourselves. Meditation is a way to
create this inner home. This course is designed to work with the
challenges of establishing a routine. In-class assignments will help
you to establish a three-step meditation practice for your daily life.
Using insights and techniques of Jungian theory, we will explore
how your personal, family and cultural history shapes your artistic
narrative and how this history supports or sabotages your meditation. Your self-portrait, in the medium of your choice, can then
emerge as an externalization of this internal process.
ANNETTE R. LIEBERMAN, psychoanalyst, visual artist. BS,
cum laude, Tufts University; MSW, Hunter College. Professional
experience includes: Art therapist, Bellevue Psychiatric Hospital;
consultant, Actors Fund of America. Group exhibitions include:
Ceres Gallery; Woodstock Artists Association and Museum, NY;
Woodstock Byrdcliffe Guild, NY; 440 Gallery. Editorial projects
include: The Money Mirror: How Money Reflects Women’s Dreams,
Fears and Desires.
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JEWELRY COURSES
Design and Create Your Own Jewelry:
Metal Techniques I
CAC-1011-A
This studio course for beginners will enable you to create jewelry
as you envision it. Techniques to be covered include: soldering,
stone setting, metal construction, piercing, polishing, finishing,
surface design, stamping, repoussé, reticulation, granulation,
ancient and modern chain making and low-tech casting. Cloisonné
enamel techniques are also available for those interested. Students
will begin by fabricating a ring, pendant or earrings set with a
stone. Each student will also design and construct a piece of jewelry
based on the traditional or modern application of the media.
Sessions many include demonstrations as well as individual
instruction and basic design consultation.
NOTE: Previous design and metal experience is not required.
LORI HOLLANDER, jewelry maker, designer. BA, Brooklyn
College; National University of Mexico; New York Studio School.
Professional experience includes: Reproduction Department,
The Metropolitan Museum of Art; Vice president, Metropolitan
Enamelists Guild. Group exhibitions include: School of Architecture
Gallery, Maryland University; Aaron Faber Gallery; Spring Street
Enamel Gallery; Visual Arts Museum; East End Art Council,
Riverhead, NY. Clients include: American Express; Adam York;
Bloomingdale’s. Publications include: The New York Times, New
York Post, Suffolk Times, Newsweek, Time.
Design and Create Your Own Jewelry:
Metal Techniques II
CAC-1012-A
This course will expand and develop your jewelry techniques in
silver, gold or base metal. Advanced techniques in soldering,
stone setting (including gypsy setting), metal construction and
forming (including hollow Roman rings and bracelets), hinges and
clasps, granulation and fusing, ancient and modern chain making,
finishing, surface design, patinas and polishing will all be covered.
Instruction in cloisonné enamel and techniques and low-tech
casting will also be available. Students will design and create projects
based on the traditional or modern application of the media, and
will receive individual assistance from the instructor.
LORI HOLLANDER, jewelry maker, designer. BA, Brooklyn
College; National University of Mexico; New York Studio School.
Professional experience includes: Reproduction Department,
The Metropolitan Museum of Art; Vice president, Metropolitan
Enamelists Guild. Group exhibitions include: School of Architecture
Gallery, Maryland University; Aaron Faber Gallery; Spring Street
Enamel Gallery; Visual Arts Museum; East End Art Council,
Riverhead, NY. Clients include: American Express; Adam York;
Bloomingdale’s. Publications include: The New York Times, New
York Post, Suffolk Times, Newsweek, Time.
Art of Jewelry Making: Fundamental Techniques
Metal Jewelry Design: Beginning and Intermediate
CAC-1021-A
This studio course will focus on basic metalworking for creating
jewelry. Techniques covered will include: soldering and annealing,
metal construction and forming, polishing and stone setting, as
well as decorative finishes for surface treatment of metals, such
as texturing, patinas, antiquing and stamping. Each student will
begin with designing and creating a ring set with a stone, followed
by personal projects that employ the skills learned in class. There
will be ample time for experimentation. Individual instruction on
additional techniques such as making chains, jump rings, clasps
and hooks will be given for projects that require these techniques.
Assignments vary each semester and students are welcome to
continue their projects from a previous course.
NOTE: Previous design and metalworking experience is not required.
RUTH SANTANA, jewelry maker; designer; owner, Prudencia
Designs. BS, York University. Clients include: Farm Sanctuary,
Mercy for Animals, Sea Shepherd Conversation Society. The
instructor’s work can be viewed at: benchtimejewelryarts.com.
CAC-1022-C
See CAC-1022-A for course description and instructor.
CAC-1022-A
Hours: 10:30 am–1:30 pm
Learn the foundations of jewelry making or enhance your existing
skills in soldering, forming, polishing, texturing and stone-setting
techniques. Beginners will start by making a sterling silver ring set
with a gemstone of their choice. They will then create pieces of
their own design with individual assistance. More advanced students
will work on projects of their choice. The course will include many
demonstrations, such as gypsy setting, reticulation, chain making
and low-tech casting techniques. Students can expect to complete
at least two finished pieces of jewelry.
NOTE: Previous jewelry making experience is not required.
VICTORIA P. TILLOTSON, jewelry designer; author; owner,
Victoria Tillotson Jewelry, Inc. BA, Hampshire College; MA,
University of Rhode Island; PhD, SUNY Buffalo. Author: Chic Metal:
Modern Metal Jewelry to Make at Home. Publications include: Lucky,
Complex, Bust, Family Circle, Audrey, InStyle.com, Seventeen, Allure.
Television appearances include: HSN, Oxygen Network, Better TV.
The instructor’s work can be viewed at: victoriatillotson.com.
VLC-2551-A
Rhino is a cutting-edge software program that is used in architecture
and engineering, as well as product and jewelry design industries
for 3D modeling objects using NURBS surfaces. Rhino provides
all the tools needed to accurately model and document your
designs for CAD drawings, renderings, laser cutting, 3D printing,
prototyping, CNC milling, and other manufacturing processes.
This course will introduce and explore many of the common tools
used in Rhino, with an emphasis on best practices. Through a
series of lectures and tutorials, students will gain a firm command
of these fundamental tools and be able to translate their ideas
into computer models, physical prototypes and products.
NOTE: Students are required to provide their own laptops
with McNeel’s Rhino software installed. Free demo versions
for the duration of the course are available for both Mac and
PC platforms.
JOHN THOMAS HEIDA, director, Visible Futures Lab, School of
Visual Arts; principal, John Heida Studio. Professional experience
includes: Architectural designer for Arnell Group; Graftworks; Pfau
Long Architecture, Ltd. Group exhibition: MoMA/PS1. Publications
include: Popular Mechanics, Shopbot. Awards and honors include:
Taconic Fellowship, Connecticut Chapter of Associated Builders
and Contractors, County of Alameda Public Works. The instructor’s
work can be viewed at: jtheida.wix.com/john-t-heida.
for Beginners
VLC-2551-B
CAC-1022-B
Hours: 10:30 am–1:30 pm
See CAC-1022-A for course description and instructor.
READY TO REGISTER?
Details on page 4
toll-free tel. 877.242.7200 :: 109
FINE ARTS
for Beginners
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illustration and cartooning
CORPORATE TRAINING
¿HABLAS DISEÑO?
INFORMATION SESSION
6:30 pm–8:30 pm
What is illustration? What is cartooning? What do you need to
begin working as an illustrator or cartoonist? Spend an evening
with some of our continuing education illustration and cartooning
faculty and see their work and their students’ work.
room 311, 3rd floor. Seating is given on a first-come, first-served
MODERATOR: JASON LITTLE, cartoonist.
COURSES
Cartooning Basics
CIC-2011-A
A cartoonist is the proverbial jack-of-all-trades, functioning by
turns as writer, cinematographer, graphic designer and illustrator.
This course will explore essential components of cartooning: cartoon figure drawing in ink, background basics, comic-strip writing,
graphic storytelling, panel and page composition, and creative
games. Students will develop a self-published mini-comic alongside
several class exercises and worksheets. This course is helpful for
anyone interested in comics, animation or advertising.
NOTE: Please bring plain white paper, a mechanical pencil, a
kneaded eraser and two black Sharpie markers (fine and ultra
fine) to the first session.
TOM MOTLEY, cartoonist. BFA, Washington University. Clients
include: National Endowment for Financial Education, Mizel Arts
and Culture Center, Art Students League of Denver, Centennial
Press, Pearson Publishing, Merrill Corporation, Rain Taxi. Exhibitions
include: Glovinsky Gallery of Contemporary Art, Denver; Singer
Gallery, Denver. Publications include: Aline the Alien, Comics Journal,
Steel Pulse Pro-Wrestling Adventures, The Twilight of the Bums, Brooklyn
Rail, True Fiction, Backwards City Review, Betty Paginated, Eros Comix,
The Stranger. The instructor’s work can be viewed at: tmotley.com.
Illustration Basics
ILC-2012-A
This course focuses on the needs of the illustration student,
concentrating on the fundamentals of composition, color, media
application and the basic elements of picture-making. Other issues
covered in-depth include the acquisition and proper usage of
reference materials, the development and visual expression of precise
imagery, and the function of the sketch in the process and execution of the finished illustration. Excellence in design, drawing and
presentation will be stressed throughout the course. Guest lecturers
and slide presentations are included.
NOTE: Assignments vary each semester.
JOO CHUNG, illustrator. BFA, Art Center College of Design.
One-person exhibitions include: University of California, Santa
Cruz; Scope Gallery; Biola University. Clients include: Time,
Newsweek, Sports Illustrated, Money, The New York Times, New York
magazine, Adweek, Texas Monthly, Rolling Stone, RCA Records,
Elektra/Asylum Records, Business Week, Doubleday, St. Martin’s
Press, Knopf, Scholastic Inc., Atlantic Monthly, Baltimore Opera,
Paramount Pictures.
toll-free tel. 877.242.7200 :: 111
Artists who are inspired by stories, their own or someone else’s,
can find creative fulfillment as illustrators or cartoonists. In both
disciplines, visual fluency speaks in concert with narrative intentions.
Illustrators and cartoonists are skilled artists with a literary streak.
The successful illustrator can work in a variety of media to express
meaningful concepts, but first he or she must be able to grasp that
meaning by penetrating metaphorically into a text. By creating original
comics that confront every issue found in the modern novel, graphic
novelists have reinvented cartooning. Cartoonists can also become
creative collaborators by taking another writer’s material and
orchestrating it with their own images.
At SVA, you become an illustrator or cartoonist by developing
your technical skills into a highly interpretative instrument. Before
going into the marketplace, you will practice drawing with pen and
pencil, and painting with oils, watercolor or gouache; you will learn
color, composition and anatomy; you will work from live models and
from pure imagination; and, most importantly, you will learn how
to interpret, for skills must be accompanied by a well-developed
artistic sensibility.
No one understands that better than the illustrators and cartoonists
teaching at the School of Visual Arts, who share their considerable
talents and experiences with you. We offer a variety of drawing and
painting courses—taught by members of our outstanding illustration
and cartooning faculty—that are listed in the fine arts section of
this bulletin.
Inking Comics
Formula Drawing and Analysis for Cartoonists II
ILC-2114-A
Comic book inking and realistic ink drawing involve different but
overlapping skillsets. This course will explore ways in which the
tools and techniques of ink draftsmanship can be put into the
service of comic storytelling. Emphasis will be on building skills,
value organization and designing an orderly reading experience.
Through exercises in line sensitivity, contrast, “noodling” and
correcting, and through visual narrative projects, students will
learn to effectively cartoon in ink.
ILC-2129-A
A continuation of ILC-2119, Formula Drawing and Analysis for
Cartoonists I, this course will focus on applying techniques to more
complex and challenging projects. Along with biweekly critiques,
students will apply the formulas to suitable scenarios such as plot
development, page layout, and other common details regularly
drawn by the working cartoonist. Drawing models, students will
also delve into complex perspective techniques.
PREREQUISITE: ILC-2119, Formula Drawing and Analysis for
Cartoonists I, or equivalent.
NELSON FARO DECASTRO, illustrator. BFA, School of Visual Arts.
Clients include: Marvel Comics, DC Comics, Dark Horse Comics,
Bantam Books, Black Bull Comics, Nintendo, Fleer, Topps, Harris
Comics, Upper Deck, Lucasfilm Ltd. Author, illustrator: The
Eudaemon. Comics include: Superman, Marvel Knights, Ultimate
Spider-Man, Uncanny X-Men, Inhumans. Publications include: Wizard,
Comic Book Collector.
Formula Drawing and Analysis for Cartoonists I
ILC-2119-A
This course is designed to teach formulas that will allow students
to understand common forms drawn by the working cartoonist.
By introducing a basic set of formulas and rules, students will be
able to draw such things as the male figure, the female figure,
heads, hands and feet, among other subjects, without reference.
This system can then be incorporated into one’s personal style
and can also be implemented to diagnose problems in one’s
drawings. An introduction to basic perspective will assist in placing
figures and objects into complex and realistic three-dimensional
scenarios. The formula templates will help students to better
understand the nuances of the human form and how it moves.
NELSON FARO DECASTRO, illustrator. BFA, School of Visual Arts.
Clients include: Marvel Comics, DC Comics, Dark Horse Comics,
Bantam Books, Black Bull Comics, Nintendo, Fleer, Topps, Harris
Comics, Upper Deck, Lucasfilm Ltd. Author, illustrator: The
Eudaemon. Comics include: Superman, Marvel Knights, Ultimate
Spider-Man, Uncanny X-Men, Inhumans. Publications include: Wizard,
Comic Book Collector.
112 :: sva.edu / ce
Digital Coloring for Illustrators and Comic Artists
ILC-2149-A
The use of color as applied through digital media is the focus of
this course. Digital coloring techniques offer artists access to an
unlimited palette and an often-daunting array of techniques. This
palette allows artists as much of a personal voice as can be created
with a brush and canvas, and with more immediate control over
the final product. We will explore a variety of approaches, including
digital painting and brushes, creating and using textures and
organic forms, coloring comic books and other drawing techniques.
This course takes students beyond formulaic approaches, and
demonstrates how digital color is used for experimentation
and exploration.
operating system.
NOTE: It is recommended that students have access to a computer
with Adobe Photoshop for home assignments. Lab time is included
in the instructional hours; additional lab time is not available.
MATT ROTA, illustrator. BFA, cum laude, Maryland Institute
College of Art; MFA, School of Visual Arts. Clients include: The
New York Times; McSweeney’s; Nylon Guys; Utne Reader; LA Weekly,
Russian Esquire; Philadelphia Weekly; Good But Cheap Eats: New York;
Columbia Journalism Review; Science News; Ninja Tune Records; Time
Out Chicago; City; Isthmus; Wax Poetics; Feats Inc.; Soft Skull Press.
Anthologies include: Top Shelf 2.0, Gutter, Rabid Rabbit, Supertalk.
Exhibitions include: Society of Illustrators; Marte Contemporaneo,
Semantica, San Salvador; Danger Danger Gallery, Philadelphia;
Smash Gallery, Toronto; Visual Arts Gallery; Lower Manhattan
Cultural Council; Current Gallery, Baltimore; Copro Gallery, Los
Angeles; Last Rites Gallery; Curly Tail Fine Arts, Chicago; The
Whole Gallery, Baltimore. Awards and honors include: Silver
Medal, Society of Illustrators; American Illustration; Communication
Arts; 3x3; Creative Quarterly; Lürzer’s Archive. The instructor’s work
can be viewed at: mattrotasart.com.
Drawing Workshop: Between the Lines
FIC-1126-A
Sun., Sept. 25
NEW
1 session; $120
Romanesque, Gothic)
FIC-1127-A
NEW
Sun., Dec. 4
1 session; $120
at a fast pace.
Fantasy, Animal and Creature Illustration
ILC-2739-A
Want to use an animal or creature for your personal branding?
Need to develop animals for a children’s book? The depiction of
animals and creatures is everywhere in today’s media landscape.
Whether in television advertising, animation, film, video games,
children’s books or other print media, animals are there to
capture and captivate audiences. They have become permanent
fixtures in our visual vocabulary. This course will give students the
opportunity to explore a variety of styles in rendering animals and
creatures. Everybody can be taught the skill to draw animals,
toll-free tel. 877.242.7200 :: 113
ILC-2022-A
Drawing is a way to examine, explore and express life. The human
body provides simple, unifying form principles found in all visual
arts and design. In this intense class we explore the structural
aspect of the body and ways to depict the rhythms and forms
inherent to our bodies. We develop a language of line that
connects us to the earliest known and most sophisticated drawings
made by humans. One goal is to have you on a knowledge-seeking
path about drawing, seeing through the history of drawing and
allowing for personal expression with meaning. The series of
exercises will enhance your drawing abilities no matter what
your level. The pencil and brush will be the primary tools to
make effective line drawings that show structural anatomy,
rhythm and archetypes of form. We work primarily from short
poses with nude and clothed, male and female models. Each
week, demonstrations of exercises, presentations and research
deepen our understanding and our connection to the abundant
drawings we can learn from, now at our fingertips more
than ever. To see examples of class and student work, please
visit: stephengaffney.tumblr.com.
NOTE: Please bring a pad of smooth, white drawing paper (18x24"),
soft graphite pencils, pencil sharpener and eraser to the first session.
of Visual Arts; MFA, New York Academy of Art. One-person exhibitions include: First Street Gallery; Galerie Timothy Tew, Atlanta.
Group exhibitions include: Samson Fine Art; McKee Gallery;
Bachelier Cardonsky Gallery, Kent, CT; New York Academy of Art.
Projects include: Sogno Ristorante, Fairfield, CT (interior design);
Church of St. Agnes (altarpiece); Marine Park Playground; P.S. 58
Library; Playground for All Children; Paul’s Daughter (signs and
design). Clients include: Hazelwood Foods, U.K.; New York City
Department of Parks and Recreation. Awards and honors include:
National Academy of Design, Edwin Austin Abbey Fellowship.
The instructor’s work can be viewed at: stephengaffney.net.
whether in a cartooning style or a more realistic mode. Techniques,
composition and subject matter will be discussed, and students
will be given individual guidance.
NOTE: Please bring a vellum tracing pad (11x14" or larger) and a
pad of two-ply Bristol board (smooth or textured, at least 12x16")
STANLEY MARTUCCI, illustrator. BFA, School of Visual Arts. Clients
include: Village Voice, Condé Nast, Williams-Sonoma, Penthouse,
St. Martin’s Press, Berkley-Penguin, Atlantic Monthly, HarperCollins
Publishers, Pocket Books. Awards include: Graphis, Society of
Illustrators, Society of Publication Designers, Spectrum. The
instructor’s work can be viewed at: ba-reps.com.
Watercolor Painting
ILC-2124-A
The goal of this course is to make the artist comfortable working
with the spontaneous and subtle medium of watercolor. We will
investigate various topics, such as color, plein air painting, the
figure, botany and still life, as well as an introduction to the works
of several watercolor masters. Sessions will explore paper, pigments
and the effects of water, and students will experiment with
wet-on-wet and enclosure techniques. Students will create portraits
made from fruit and vegetables (based upon Giuseppe Arcimboldo’s
work), mandalas, postcards that tell a story, and insect studies
inspired by Audubon.
in this course.
RUTH MARTEN, fine artist, book and fashion illustrator, tattooist.
Diploma, School of the Museum of Fine Arts, Boston. Clients
include: Alfred A. Knopf; Simon & Schuster, Inc.; St. Martin’s
Press; Doubleday; HarperCollins; Time; Sony; Bertelsmann; Vogue;
Bergdorf Goodman; Ferragamo. One-person exhibitions include:
Hosfelt Gallery; Van der Grinten Gallery, Cologne; Isis Gallery,
London; Adam Baumgold Gallery; Littlejohn Contemporary.
Group exhibitions include: Aldrich Contemporary Art Museum,
Ridgefield, CT; Tang Museum, Skidmore College, Saratoga
Springs, NY; Collection Lambert, Avignon, France; John Michael
Kohler Art Center, Sheboygan, WI. Collections include: Saatchi
Collection, Roger Thomas Collection, M.H. de Young Memorial
Museum. Author: Histoire un-Naturelle. Publications include: The
New Yorker, Formes, Juxtapoz, Art in America, New York magazine,
Paul Klee and the Decorative in Modern Art. Awards and honors
include: Anonymous Was a Woman, Augustus Saint-Gaudens
Medal. The instructor’s work can be viewed at: ruthmarten.com.
114 :: sva.edu / ce
Making It Real
ILC-2334-A
This course will explore all you need to know to create fully
three-dimensional illuminated paintings of the world around you.
It is perfect for beginners and will prove of great value to more
advanced painters. It examines how to make an image pop off the
canvas or a landscape recede into the blue and hazy distance. It
will address how to make a head really solid and dimensional, the
eyes really liquid and the jewelry sparkle. Students will uncover
the means by which an image can be made to appear more real
than real itself. They will discover how color, tone and paint techniques can be combined to produce an image of dazzling reality.
We will study various options of underpainting, color and tonal
systems, as well as some of the more amazing games that can be
played with shadows and reflections. Studio work will be from the
figure and still life. Assignments include the use of a variety of
sources from landscape to photography.
Illustration as Design as Illustration
ILC-2756-A
It is very important for anyone in the field of Illustration or graphic
design to be sensitive to the overall look and feel of a design, and
the relationship between images, decorative elements and text.
This course will explore many ways in which illustration can be
incorporated into a design, allowing the artist to create the whole
package. Working in a variety of styles inspired by artists of the
19th and 20th centuries, students will make food labels, maps, book
covers and interiors, magazine illustrations, posters, shopping bags,
and more. Work will be done using many different mediums,
including gouache (with a demonstration), pen-and-ink (another
demo), colored pencil and watercolor. Students are encouraged
to work traditionally. Traditional methods and digital methods
may be combined. Beginners to advanced students are welcome.
Assignments vary each semester.
NOTE: A short video about the course can be viewed
at: melaniemarderparks.com. Please bring samples of your work
and some sketching materials to the first session.
MELANIE MARDER PARKS, illustrator, calligrapher, designer.
BFA, The Cooper Union. Clients include: Martha Stewart Living;
Simon & Schuster, Inc.; Random House; Klutz; Penguin USA;
Hyperion (Disney); Vogue; Time; Money; Travel + Leisure; Seventeen;
St. Martin’s Press; Disneyworld; The New York Times. Publications
include: Watercolor, Print, American Illustration, Communication Arts.
The instructor’s work can be viewed at: melaniemarderparks.com.
Drawing the Clothed Model
Drawing New York City
ILC-2184-A
Using various locations as our classroom, this course will focus
on how to sketch different characters in their environments. The
instructor will work with students on an individual basis, and you
may choose to concentrate on a specific area of interest such as
the figure, gesture, architecture or perspective. Students may work
in any medium and instruction will be given for a variety of materials, including charcoal, pastel and pen-and-ink. Each session will
end with an informal critique. In past semesters, locations have
included Chinatown, South Street Seaport, night court and Grand
Central Terminal.
CIC-2218-A
When you’re a graphic illustrator, understanding human anatomy
is only part of the skill set you need to successfully compose vivid
and expressive figures. This course will survey key concerns such as
solidity, movement, body language and stagecraft, in an effort to
coordinate what you can learn about the figure with what you can
see and imagine. Sessions will alternate between life drawing from
the model and figure construction from memory and imagination.
This is a good course for people who draw well and would like
to draw better.
NOTE: Please bring drawing paper and pencils, and your best
cartoon character or figure drawing to the first session.
Comics as Journalism
CIC-2237-A
Wed., Oct. 5–Nov. 30
The reality based graphic novel is one of the most important new
movements in comics, whether it is a news story like Joe Sacco’s
Palestine, an oral history like Art Spiegelman’s Maus or autobiography like Harvey Pekar’s American Splendor. In this course, students
will go out into the world and document real life situations in
comic-book form. They will have the opportunity to work with
community organizations to cover current events or to study their
own personal relationships more closely. They will learn to gather
information through observation, interviews, photo-reference and
location sketches. And they will learn how to compile and edit this
information to make a compelling graphic story.
SETH TOBOCMAN, illustrator, comic book artist. Pratt Institute,
New York University. Books include: War in the Neighborhood;
World War 3 Illustrated 1980-1988; Disaster and Resistance; Portraits
of Israelis and Palestinians; Three Cities Against the Wall. Founding
editor, World War 3 Illustrated. Publications include: Heavy Metal,
Village Voice, Tikkun, Maximum Rock n’ Roll, The New York Times,
Internazionale, The Nation. Clients include: Inx Syndication (United
Media), Warner Brothers. Group exhibitions include: Whitney
Museum of American Art, New Museum of Contemporary Art,
Museum of Modern Art, Exit Art, ABC No Rio.
toll-free tel. 877.242.7200 :: 115
ILC-1033-A
$400; model fee, $90
Developing the line drawing is the focus of this course. The beginning
of each session consists of five-minute poses, giving students a
chance to warm up and to work on interpreting the clothed model
in a spontaneous way. The session will then progress to 20-minute
poses in order to achieve a more intimate connection with the work.
Pencil and charcoal are the primary media. Oil pastel techniques
will be introduced to create rough color studies, and students may
elect to work in this medium. We will explore composition
through the placement of the model within the confines of the page.
Various clothing modes, such as fashion, street and historical (i.e.,
Roman togas) will be included. Individual attention and instruction
will be given. The end result will be a body of work that reflects
the ability to draw the model in a three-dimensional space.
Figure Drawing for Cartoonists
Essential Knowledge and Skills for Comics Creators
Children’s Book Illustration
CIC-2239-A
Students will gain hands-on knowledge of the principles and
techniques for juxtaposing visuals, narrative and sequential visual
storytelling to tell clear and compelling stories. Through a combination of presentations, reading and short comics assignments,
students will learn to combine instinct and intellect to create
comics and become more versatile artists.
CARL POTTS, creative director, artist, writer, editor. BA, SUNY
Empire State. Professional experience includes: Executive editor,
editor-in-chief, Marvel Comics/Epic Comics; creative director,
VR1 Entertainment; senior creative director, Agency.com; creative
director, Teaching Matters. Creative consultant: HarperCollins,
Victorinox/Swiss Army, DC Comics, Mainframe Entertainment,
Jerry Bruckheimer Films. Publications include: The DC Comics
Guide to Creating Comics: Inside the Art of Visual Storytelling, Punisher
War Journal, Alien Legion, Last of the Dragons, Shadowmasters, Doctor
Strange, Moon Knight, Marvel Fanfare.
ILC-2563-A
This course is devoted to writing and illustrating picture books for
young children. Students will work on developing their individual
style, craftsmanship and practical bookmaking skills. Weekly home
assignments and in-class critiques will be geared toward building
a professional-level portfolio, as well as a book dummy suitable
for presentation to publishers and agents. Discussions will include
the history of children’s books, materials and techniques, design
considerations, the business of publishing, and the challenges
and opportunities of working in the field today. There will also
be lectures from visiting professionals in the book industry. If
you want inspiration and motivation, and enjoy lots of hard work,
this course is for you.
NOTE: If you have a story you are already working on, please bring
it and illustration samples to the first session.
MONICA WELLINGTON, illustrator, author. BFA, University of
Michigan. More than 30 picture books, including: Riki’s Birdhouse,
Zinnia’s Flower Garden, All My Little Ducklings, Apple Farmer Annie,
Night City, Squeaking of Art, Mr. Cookie Baker, Crêpes by Suzette, Pizza
at Sally’s, Truck Driver Tom. Clients include: Scholastic, Children’s
Television Workshop, Penguin Group, Dover Publications. The
instructor’s work can be viewed at: monicawellington.com.
Beauties and Beasts
FIC-2113-A
Hours: 10:00 am–6:00 pm
2 sessions; 1 CEU
116 :: sva.edu / ce
Collage Improv
ILC-3422-A
In this course, we will consider the potential of materials and their
creative application, as well as explore working methods that
emphasize improvisation. Students will create projects with a
minimum of planning: no rough sketches or preliminary layouts.
The development of spontaneity, problem solving and resourcefulness is the goal. Projects will be executed and completed in
class—one assignment per session with a final artwork that will
extend over three weeks. Typical assignments include: working from
the live model, a portrait of oneself as an opposite, employing a
few random phrases that will serve as the basis for an illustration,
working from a grab bag of supplied materials. A wide range of
techniques will be explored, using materials that include (but are
not limited to) all kinds of paper, 3D objects, matte medium, an
assortment of glues, drawings, photographs, and other things that
occur to us along the way.
NOTE: A supply list will be distributed upon registration.
STEPHEN BYRAM, art director, graphic designer, illustrator.
Clients include: Sony Music, Time Warner, MTV, Blue Note
Records, EMI Music, Universal Music, MTA, Rolling Stone, Winter
& Winter. Publications include: Eye; Cover Art By: New Music
Graphics; 100 Best Album Covers. Awards include: Silver Award,
Broadcast Design Association; Silver Award, Art Directors Club;
AIGA; Society of Illustrators. The instructor’s work can be viewed
at: screwgunrecords.com/byram.php.
Gag Cartoons and Short Form Comics: Writing,
Drawing and Design
From Fantasy to Reality: Production/Concept Design
ILC-2548-A
When one imagines a dramatic story in a remarkable setting, often
the details are a bit fuzzy. This course will explore how to create
concrete designs and plans of interior and exterior spaces that
convey narrative content. After researching the design of different
historical periods, basic drafting and perspective techniques will
be covered, including multiple angles, elevations and prop details.
Character and costume designs, as well as how to professionally
present ideas and plans to prospective clients and collaborators
will all be addressed. Each student will be assisted in choosing the
best medium/applications (including Adobe Photoshop) to bring
a project to completion. The techniques covered can be applied
to areas of stage, screen, animation and gaming. Open to students
at all levels.
NOTE: Please bring a vellum tracing pad (11x14" or larger),
a sketchpad (11x14" or larger) and 2B pencils to the first session.
Sapienza–Università di Roma. Film projects include: The Life Aquatic
Crash Course for Artists, Illustrators and Cartoonists
ILC-2448-A
The fundamentals of representational art will be the focus of this
course. We will explore subjects that include: perspective and how
to create believable form and space; the structure, proportion and
anatomy of the human figure and head; drapery and the clothed
figure; the principles of light and value; color theory and its practical application; abstract composition and narrative storytelling.
Sessions will include lectures and in-class exercises, and there will
be weekly home assignments. Resources for further study will be
provided for each subject. Students from all levels are welcome.
NOTE: Please bring drawing materials to the first session.
A complete supply list will be distributed at that time.
TRISTAN ELWELL, illustrator. BFA, with honors, School of Visual
Arts. Book cover illustration clients include: Avon; Berkley Books;
Harcourt; HarperCollins; Penguin; Pocket Books; Henry Holt; St.
Martin’s Press; Simon & Schuster, Inc.; Random House; Tor Books;
Scholastic. Other clients include: U.S. News & World Report,
American Kennel Club, Forbes, Atlantic Monthly, Playboy, Upper
Deck, Psychology Today, E.&J. Gallo Winery, Wizards of the Coast,
Boy Scouts of America, Saatchi & Saatchi, Village Voice Media,
Lifetime Networks. Exhibitions include: Society of Illustrators; Art
Directors Club; Copro Nason Gallery, Santa Monica; Visual Arts
Gallery; United Nations. Awards include: Society of Illustrators;
Print; Chesley Award, Association of Science Fiction and Fantasy
Artists; Spectrum; Communication Arts. The instructor’s work can
be viewed at: tristanelwell.com.
Silkscreen for Illustrators
FIC-2824-A
This course is for those interested in both silkscreen and drawing.
Students will learn the process of silkscreen as well as various
methods of making color separations to optimize their drawings
for the medium. Starting from hand-drawn and digital images,
separation techniques for both opaque and transparent color will
be explored. Projects include posters, mini-comics, postcards,
T-shirts and zine covers.
SARA VARON, illustrator. BFA, School of the Art Institute of
Chicago; MFA, School of Visual Arts. Books include: Chicken and
Cat, Chicken and Cat Clean Up, Sweaterweather, Robot Dreams. Clients
include: The New York Times, Nickelodeon magazine, Scholastic, First
Second Books, UNICEF, Walker Art Center, Roaring Brook Press.
The instructor’s work can be viewed at: chickenopolis.com.
toll-free tel. 877.242.7200 :: 117
CIC-3114-A
This hands-on studio and critique course will focus on writing,
drawing, composition and style of New Yorker-type comics that
are still being published by magazines and newspapers, and are
growing exponentially online as web cartoons and visual emanata.
Studio sessions will concentrate on making single-panel comics
and illustrations, and short form narratives. Aesthetic choices based
on conceptual expression of humorous (and sometimes deeper
symbolic and philosophical conceits) will be discussed and critiqued.
All aspects of creating single- and small multi-panel works will be
addressed, from concept and design to final pen-and-ink (and
sometimes ink wash and color, among other mediums). Special
emphasis will be given to helping students to find their own style
as humorists and visual artists. By the end of the course, students
will have created a portfolio of several cartoons to be presented
to and evaluated by a cartooning editor from The New Yorker.
EMILY FLAKE, illustrator, cartoonist. BFA Maryland Institute
College of Art. Clients include: The New Yorker, Newsweek, The New
York Times, The Onion, Forbes, The Globe and Mail, Time Out New
York, The Believer, Wall Street Journal, The Nation. Author, illustrator:
Mama Tried: Dispatches from the Seamy Underbelly of Modern Parenting;
These Things Ain’t Gonna Smoke Themselves. Books illustrated include:
The Dangerous Book for Dogs, The Devious Book for Cats, Instant Love.
Publications include: Time, MAD, Canadian Business, Baltimore City
Paper, Nickelodeon. Syndicated strips: Lulu Eightball. Awards and
honors include: Prism Award, Communication Arts Annual, American
Illustration. The instructor’s work can be viewed at: emilyflake.com.
Etching: Illustrating Books with Prints
FIC-2864-A
Hours: 7:00 pm–10:00 pm
How to use printmaking as a viable approach for illustrating magazines
and fine books is the focus of this course. Students will be introduced
to basic etching and monoprint techniques, including hard ground,
soft ground, aquatint and color printing. Students will be encouraged
to select or develop a story and then to illustrate it with the techniques
they find most interesting. Artists past and present who used
printmaking as an illustration technique will be discussed and studied.
BRUCE WALDMAN, illustrator; printmaker; designer. BFA,
Philadelphia College of Art; MFA, SUNY Buffalo. Group exhibitions
include: Sacred Gallery; National Arts Club; Pyramida Center for
Contemporary Art, Haifa; Pelham Art Center, NY; Museum of
American Illustration; Jerusalem Print Workshop, Israel. Collections
include: The Metropolitan Museum of Art; The New York Public
Library; Art Institute of Chicago; New-York Historical Society, The
Royal Collection, London; Library of Congress; New York Transit
Museum; Housatonic Museum of Art, Connecticut. Books illustrated
include: Iron John; Primate Behavior; The Works of Georg Buchner; The
Gift of Asher-Lev; The Road to Wellville; The Waterworks; The Agony
and the Ecstasy. Publications include: Art in America, Printmaking
Today, Step-by-Step, American Artist, Society of Illustrators. Awards
include: Silver Medal, Society of Illustrators; Jerome Foundation.
Board member: Robert Blackburn Printmaking Workshop/Elizabeth
Foundation for the Arts, New York Society of Etchers. The
instructor’s work can be viewed at: brucewaldman.com.
Art Intertwined: Cultures and Creativity
ILC-2732-A
When diverse cultures converge, elements are set for a creative
bonanza. This course will explore historical and contemporary artists whose work have been influenced and informed by different
cultural legacies (Picasso, Van Gogh, Diego Rivera, Frida Kahlo,
Ai Weiwei.) We’ll examine contemporary concepts and trends
in the fields of book illustration, photography, fine arts, public art
and animation (like the Dora phenomenon, Maus, Persepolis, The
Arab of the Future). Working with a media of their choice—drawing,
painting, collage, digital, photography—students will be guided in
developing an individual project inspired by cultural traditions,
such as a graphic novel, children’s book, or artworks for exhibition.
In addition, the best ways to find professional opportunities for
finished projects will be addressed.
NOTE: Please bring samples of your work and sketching materials
FELIPE GALINDO, cartoonist, illustrator, animator, painter.
BFA, Universidad Nacional Autónoma de México. Clients include:
The New Yorker, Wall Street Journal, International Herald Tribune,
MAD, The New York Times, Reader’s Digest, Barron’s, The Spectator,
Newsday, Nickelodeon. Books include: No Man is a Desert Island;
Manhatitlan: Mexican and American Cultures Intertwined; Cats Will
Be Cats. Books illustrated include: The Big Book of How, My Teacher
Can Teach Anything. Animated projects include: The Manhatitlan
Chronicles, Feggorama, Manhatitlan Codex. Awards include: Puffin
Foundation; New York Foundation for the Arts; US/Mexico Fund
118 :: sva.edu / ce
for Culture; Rockefeller Foundation; Lower Manhattan Cultural
Council; National Association of Latino Arts and Culture; Porto
Cartoon Festival, Portugal; United Nations Correspondents
Association; Greek Ministry of Culture; Turkey Ministry of
Tourism; San Antonio CineFestival.
Comics Projects
CIC-2773-A
This course is designed for people who might want to create comics
they have an idea for, have already written, or wish to otherwise
bring up from a script and thumbnails. Beginning to advanced
cartoonists will explore the fundamental principles of cartooning,
from a formal analysis of how the aesthetics of a comics construction can help to promote its content, and how to take your readers
on an experiential journey. All areas of cartooning craft and writing
will be covered, from page and panel layout and composition to
inking and drawing skills to constructing a narrative. Each week
a page of your comic will be critiqued, along with the previous
week’s page in finished form. At the end of the course you will
self-publish (and we will critique) a finished 10-page comic as a
“mini comic” that can be used to promote the work to publishers
and other creators, at comic conventions, and more.
Exploring Career Opportunities for Illustrators:
A Drawing Workshop
ILC-3596-A
This course is for students who would like to explore drawing
and career possibilities through a variety of forms, including storyboarding for film/music videos, editorial illustration, cartooning
and comics, storyboarding for advertising, children’s book illustration
and drawing as a fine art medium. In-class exercises, lectures and
replicated real-world job assignments will broaden each student’s
sense of what is possible through drawing. With weekly class crits
as well as individual guidance, students will learn to find their voice
by concentrating on drawing techniques and styles. Home assignments will be encouraged, working from thumbnail sketches to
final portfolio pieces. How to find clients, pricing and presentation
of work will be covered.
GRANT SHAFFER, storyboard artist, editorial illustrator, visual
artist, cartoonist and children’s book illustrator. Represented
by: Warshaw Blumenthal, La MaMa Gallery, Storyboards Inc.
Editorial clients include: The New Yorker, The New York Times,
Interview, Out, Bust, The New York Times Magazine. Film credits
include: The Girl on the Train, Angels in America, Zoolander, Closer,
Wall Street 2, Charlie Wilson’s War, The Secret Life of Walter Mitty,
Species, , Ransom, Little Children, Extremely Loud and Incredibly Close,
Meet The Parents. Music video clients have included: Beyoncé,
Madonna, Michael Jackson. Advertising clients include: Hershey’s,
Calvin Klein, Unilever, FedEx, Pfizer, Budweiser, Poland Spring, Visa,
Walt Disney Co. One-person exhibitions include: Half Gallery, La
MaMa Gallery, The Future Perfect Gallery, Marlen Gallery, Gallery
220. Group exhibitions include: NutureArt Gallery; Tokyo Photo
Art Fair; Milk Gallery; Rx Art Party. Comic strips: 30 Kinds of Passion,
N.Y. See, Castillo del Lago, The Pier. Children’s book illustrations:
Three Magic Balloons, The Adventures of Honey and Leon. The instructor’s
work can be viewed at: grantshaffer.com.
Illustration: Rules of the Road
Editorial Illustration
ILC-3827-A
This advanced portfolio course is a fast-paced opportunity to
experiment with different applications of style and approach
for editorial illustration. Students will produce images based on
manuscripts and real assignments. The goal is to turn ideas into
sketches and sketches into finishes by truly evolving as an artist in
concept, method and craft. A professional portfolio is a vital tool
for an illustrator, not only to present for assignments, but also as
a personal, ongoing documentation of production and evolution.
Creating and Developing Entertainment Properties
for Visual Media
CIC-3312-A
Through a combination of presentations, discussions, writings
and critiques, students will develop an original story idea and
transform it into an entertainment intellectual property (IP). Each
student’s fictional world or universe will be designed to support
the student’s series/franchise story ideas with cohesive themes,
three-dimensional characters, conflicts and internal logic.
Developing the IP for use across a variety of media will also be
covered. An initial draft of an entertainment IP “bible” will be
a class deliverable. It will include a draft of the story designed
to launch the IP, history and facts about the world/universe,
character profiles and character/environment designs. Creatorowned and work-for-hire rights deals and protections will be
covered. The course is geared toward students with a wide range
of experience—from those who have generated personal or
professional fiction writing projects to those with significant
professional writing experience.
NOTE: Please bring an original entertainment property idea
to develop further for use in visual media (film, TV, comics,
games, Internet).
toll-free tel. 877.242.7200 :: 119
ILC-3833-A
How do I make my work clearer, stronger, more compelling and
(if I want) funnier? How do I connect with designers, art directors
and editors? How do I become an author and producer of my
own projects? This course will answer these questions while teaching skills that demystify the process of creating powerful illustration. Each week will feature: 1) A lecture on an element that goes
into making pictures brilliant; 2) A fun 30-minute "flash" assignment, getting you immediately into a new project; 3) One-on-one
instruction on moving your final projects to total success (e-mail
access during the week a big part of this too.) We work at your
level—during our 12 weeks of working together you will rise to
the next . . . and beyond.
Participants will create work for various topics under true market
conditions. Ideas and sketches will be analyzed and then sharpened prior to creating finished pieces. These exercises will explore
individual technical and conceptual interests while looking toward
a professional direction.
VIKTOR KOEN, illustrator, designer. MFA, School of Visual Arts.
Clients include: The New York Times, Newsweek, Esquire, Time, Wired,
National Geographic, The Economist, Rolling Stone, Sports Illustrated,
Reader’s Digest, New York magazine, Nature, Fortune, Village Voice,
Money, Forbes, The Nation, Mother Jones, Penguin Books, Random
House, Simon & Schuster, HarperCollins, Wall Street Journal,
Boston Globe, Chicago Tribune, Los Angeles Times, Atlantic Records,
BBC, Delta Airlines, IBM, Merrill Lynch. One-person exhibitions
include: Type Directors Club; Coningsby Gallery, London; Slovak
National Museum, Bratislava; Astrolavos Gallery, Athens; Strychnin
Gallery, Berlin; Fraser Gallery, Washington, DC; Museum of
Contemporary Art, Rethymnon, Greece; Merry Karnowsky Gallery,
Los Angeles; LeVall Art Gallery, Novosibirsk, Russia. Awards and
honors include: First Prize, Digital Hall of Fame, Stockholm; First
Prize, EVGE Award; First Prize, Viridian Gallery National Juried
Exhibition; Award for Excellence, Society of Publication Designers;
International Digital Art Awards; New York Festivals. The instructor’s
work can be viewed at: viktorkoen.com.
Illustration Portfolio
ILC-4011-A
Brush up or start your portfolio. Stretch out and try something
new or work on that children’s book you’ve been dreaming of.
Discover your personal style, and work on concepts and execution.
Centered on the individual student and his or her unique talent,
this course is designed to develop and solidify personal style, strong
concepts and clear execution of ideas. How to approach an illustration job with an understanding of the type of work you want to
create will be explored, as well as business aspects such as finding
illustration markets, contracts, negotiations, subsidiary rights and
reps, copyrights, promotion and self-marketing. Assignments will
touch on various sectors of the illustration market, including publishing, editorial, licensing and corporate. Students will be encouraged
to broadly interpret the assignments: an assignment about time
can become a science-fiction piece, a conceptual illustration, or
a wonderful children’s book. Color, value, concept, execution and
medium will be covered. Assignments vary each semester.
NOTE: Please bring samples of your work and sketching materials
ELIZABETH SAYLES, illustrator. University of the Arts, School of
Visual Arts. Clients include: Henry Holt; Farrar, Straus and Giroux;
Clarion Books; Pleasant Company; Random House; Delta Airlines;
National Geographic; T. Rowe Price; Lands’ End. Children’s books
illustrated include: Moon Child; In the Night Garden; The Goldfish Yawned;
Five Little Kittens; Not in the House, Newton!; The Little Black Truck;
I Already Know I Love You; The Very Little Princess. Group exhibitions
include: Society of Illustrators; Chemers Gallery, Tustin, CA; Every
Picture Tells a Story Gallery, Los Angeles; Columbus Museum of
Art; Museum of Comic and Cartoon Art. Awards include: New York
Public Library 100 Best Books; American Booksellers; Best Seller,
Picture Book, The New York Times; Best Children’s Book, Bank
Street College; Best Children’s Book, Junior Library Guild Selection.
The instructor’s work can be viewed at: elizabethsayles.com.
The On-Ramp: Developing the Complete
Artist Portfolio
VSC-2749-A
Sat., Sept. 24, Oct. 22, Nov. 19, Dec. 17
Hours: 10:00 am–4:00 pm
You make art, you’ve gone to art school, you may even have a
burgeoning understanding of your own artistic practice. How do
you join the cultural world and represent yourself accordingly?
If you jumped into the ring now, what would the audience see?
This course is designed to help artists navigating this “on-ramp”
into cultural relevancy through the discursive and aesthetic
understanding of their work in the form of the portfolio. We will
meet monthly during the semester, allowing students the time to
complete new work between each of these intense, critique-like
sessions. Starting with an examination of previously completed
artworks, students will practice writing about their work while
maintaining a web-log between monthly critique sessions. These
logs will allow students to record their progress while getting used
to the requirements of photographing work. The in-class critiques
will provide a discursive space for artists to analyze their work
objectively and practice situating it within a cultural context.
We will discuss troubleshooting technical problems (i.e., making
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paintings into slides), situating the artist’s work (influences versus
derivation), and balancing depth and breadth in the portfolio.
Each meeting will have assigned, personalized goals to aid in
clarifying each artist’s vision for a professional entry into the
cultural sphere. Finally, the course will benefit students who are
applying to various institutions and graduate programs, as well
as for grants, residencies and awards.
NOTE: Please bring 10 to 15 samples that best represent your
work to the first session.
GRAYSON COX, visual artist. BFA, Indiana University; MFA,
Columbia University. One-person exhibitions include: Klemens
Gasser & Tanja Grunert, Inc.; Engineer’s Office Gallery; Trinity
Park, Lower Manhattan Cultural Council; Brooklyn Bridge Park;
This Friday Next Friday Gallery. Group exhibitions include: New
Museum of Contemporary Art; SculptureCenter; Museum of
Longing and Failure, Bergen, Norway; Planthouse; The Curator
Gallery; Kunstraum Kreuzberg/Bethanien, Berlin; Columbus
Museum of Art, OH; Queens Museum of Art; P339 Gallery;
Counterpath Gallery, Denver. Publications include: The New York
Times, Hyperallergic, Artnet, Time Out New York, Art in America,
Forbes, New York magazine, Scrapped, Artforum. Awards include:
Robert Rauschenberg Foundation; New York Foundation for the
Arts; Daisy Soros Prize for Fine Arts, American Austrian Foundation;
National Careers Award, National Society of Arts and Letters;
Neiman Fellow, Columbia University. Artist residencies include:
Vermont Studio Center; Lower Manhattan Cultural Council;
Centre for Contemporary Art, Ujazdowski Castle. The instructor’s
work can be viewed at: graysoncox.com.
READY TO REGISTER?
Details on page 4
ILLUSTRATION
ONLINE COURSE
ONLINE COURSE
The Pow!
Creating Art that Packs a Punch
Writing for Comics
OLC-2619-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
specific dates.
toll-free tel. 877.242.7200 :: 121
NEW
OLC-2208-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
Satiric artist and illustrator Steve Brodner guides you on a lecture/
workshop adventure through the world of the strongest art in
illustration. The greatest of all time will be discussed. And the
greatest in you is encouraged. Individual attention will be given.
The tools worked on in this course will be extremely useful in
illustration, cartooning, poster and website design. Great periods
in the history of political and socially focused art will be discussed,
including the work of Daumier, Nast, Grosz, Art Young, Ralph
Steadman and David Levine. Classic works will be examined for an
understanding of what makes them tick. Interviews with current
practitioners such as Peter Kuper and Frances Jetter will help
illuminate the process. Every week will feature a quick project
as well as help with a long-term assignment. Brodner hones your
work in a step-by-step process from general to specific inspiration,
while, at all times, holding to your ideas and passions and keeping
your eyes on the prize. This course is open to all students.
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visual narrative
VISUAL NARRATIVE
VISUAL NARRATIVE COURSES
Great visual storytellers come from all walks of life, professions and
art forms. They are the unique few who function as both author and
artist—generating original, creator-owned content that can entertain
our imaginations, challenge our notions of self and truth or engage
an audience to its core. That level of visual storytelling becomes
an unforgettable experience: influencing an audience and inspiring
generations to come.
In all forms of advertising, fine arts, game design, picture books,
graphic novels, film, illustration and animation, there is a growing
demand for talented and original-content creators. Within these
professions, a deep understanding and knowledge of story and visual
communication is required.
The following visual narrative courses provide instruction in visual
storytelling, authorship, self-publishing and print production. These
courses offer experimentation in the multidisciplinary creative processes of visual storytelling, along with skills needed in printing and
publishing, in order to contribute to the growing story-driven landscape in today’s professional marketplace.
One session: Thurs., Sept. 8
6:30 pm–8:30 pm
What is visual narrative? What is a Risograph? How do words
manipulate images and vice versa? How do you self-publish
comics, zines, photo and artist's books? What do you need to
begin creating your own original content as both an author and
artist, regardless of medium? How is the delivery format of your
story shaped by the content? Spend an evening with some of our
continuing education visual narrative faculty, and see their work
and their students’ work to find out.
NOTE: This information session will be held at 136 West 21st Street,
11th floor. Seating is given on a first-come, first-served basis.
Session begins promptly at 6:30 pm.
MODERATOR: PANAYIOTIS TERZIS, Risograph technician,
RisoLAB, School of Visual Arts; owner, Mega Press.
VNC-1577-A
Risograph Duplicator printing technology combines the vibrant
spot colors of silkscreen, the high resolution and speedy mass
production of offset lithography, and the user-friendly automation
of an advanced color copier. These compact machines can function
as a print shop in a box. Their ease of use, print quality and low
overhead costs make them extremely popular among independent
publishers, zine makers, graphic designers, photographers, and
others who are interested in making quick and vibrant editions on
paper. In this course, students will be given a thorough overview
of Risograph printing and its range of printing techniques. Each
student will generate a portfolio of various Risograph projects in
the form of print editions, zines, cards, promotional fliers, and
other printed matter.
RISO Printing: Zines and Small Publishing
VNC-2239-A
The past few years have seen an explosion of zines and small
publishing among artists, designers and photographers. Even the
most digitally based creative professionals are embracing the zine
as a vital tool for experimentation, collaboration and communication. The Risograph Duplicator has emerged as a medium of choice
for zine publishing. This technology fuses analog and digital printing techniques, combining the vibrant colors of silkscreen printing
with the speed and automation of digital and offset printing. In
this course students will be given a rigorous introduction to this
medium and how to use it effectively as a tool for self-publishing.
We will explore color, form, layout and pagination, and how
to communicate ideas in book form. Class assignments will act
as conceptual sparks to point students in new directions. In addition,
toll-free tel. 877.242.7200 :: 123
VISUAL NARRATIVE
INFORMATION SESSION
RISO Printing: An Introduction
collaborative projects among classmates will foster creative crosspollination. Students will complete several zine editions, and
discover that producing a simple pamphlet in an edition can be
an empowering act—a way of multiplying one’s vision and spreading
it out into the world.
PANAYIOTIS TERZIS, Risograph technician, RisoLAB, School
of Visual Arts; owner, Mega Press. BFA, MFA, School of Visual
Arts. One-person exhibitions include: Printed Matter, Inc.; AMP
Works, Athens. Group exhibitions include: Robert Rauschenberg
Foundation; Ed. Varie; Allegra LaViola Gallery; Endless Editions;
Exit Art; Art Basel; Pera Museum, Istanbul; NADA Art Fair; Open
Space Gallery; Andreas Melas Presents, Athens; OMMU, Athens;
ABC No Rio; Projekt722; No. 12 Gallery, Tokyo; Galerie Atelier
Herenplaats, Rotterdam; Dieschönestadt Gallery, Berlin; Visual
Arts Gallery. Collections include: Museum of Modern Art Library,
Brooklyn Museum, New York Public Library, Stanford University
Library. Illustration/design clients include: American Apparel;
VICE; Printed Matter, Inc.; Digitaria; Threadless; Crudlabs.
Publications include: Creeps Annual, Vision Zero, ZMAPP, Trapper
Keeper, Spectrum Test, Cosmos Zine, Megalith, Time Tunnels, 100
Artists of the Mid-Atlantic, Bad Stones, Zine Soup, Salt Hill Literary
Anthology, Modern Spleen Comics, Gigantic Worlds. The instructor’s
work can be viewed at: pengoat.com.
Risograph: Design and Color
VNC-2176-A
NEW
Risograph printing has seen a resurgence in the arts and graphic
design as a vibrant and viable production press for artistic expression and self-publishing. Risograph duplicators integrate the speed
and interface of a photocopier with the image quality of a highly
detailed and tactile screen print. This course will detail the best
prepress practices for both practical and creative color use. Students
will collaborate on long-run editions as well as fabricate an individual project in an edition of over 100. Preproduction file design,
on-press color experiments, how to properly utilize channels, spot
color separation, and how to best reproduce and manipulate text
for print will be covered. Students will gain a working production
knowledge of CMYK color separations and file prep, digital book
design, and advanced finishing systems and bookbinding that do
not rely on adhesives.
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Mini-Comics: From the Page to Production
VNC-2362-A
The goal of this course is to make comics from start to finish.
Students will experiment with writing and drawing short narrative
comics. We will analyze comics not only in terms of writing and
drawing technique, but also by considering color, printing and
book production. Printing and reproducing comics into a booklet
with Risograph printing will be covered. By the end of the course,
students will have completed several comic booklets, and an
editioned, multicolor mini-comic.
PATRICK CROTTY, publisher, comic artist, Peow Studio AB.
BS, University of Stockholm. Group exhibitions include: Tokyo
Stop, Stockholm; Gallery 33, Amsterdam. Publications include:
Devil’s Slice of Life, Internal Affairs, Time Capsule Anthology, Internal
Affairs 2.
InFORMed by Story
VNC-2341-A
In this exciting time of print-on-demand, self-publishing, DIY and
the immediacy of digital reproduction, the “book” and its traditional print production roots are in the midst of an evolutionary
media renaissance. Readership and audience accessibility is only
a push-button or click away, but what about the story contained
within? How does this immediacy and the availability of contemporary distribution channels affect story? Can story affect it back?
This course will ask new and aspiring storytellers the very simple
questions: “What is a book?” and “How does story shape the
page?” Students will address these questions and more through
the exploration of traditional as well as experimental bookbinding
techniques, and will be charged with the task of reconsidering just
what a book can be. Utilizing the Risograph and traditional binding
materials, students will explore new approaches to their own
written stories and how their narratives might inform the finished
book’s format. Every book will be judged by its cover! By the
course’s conclusion, students will have constructed a series of
books that explore traditional practices, experimental processes
and sculptural media in the effort to best serve the stories they
have created—ultimately, demonstrating what the word “book”
means to them.
RYAN WEBER, illustrator, storyteller. MFA, School of Visual Arts.
Group exhibitions include: Visual Arts Gallery; The College of
New Jersey, Ewing Township; Crane Arts, Philadelphia. Anthologies
include: Excuse Me, Ladies and Gentlemen; Survival Theories of a
Counterpart Existence; Journal No. 034. The instructor’s work can
be viewed at: ryanmatthewweber.com.
Exposing Stories
ONLINE COURSES
OLC-2623-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
In this fast-paced practicum course, beginners and intermediate
students will come in with an idea for a new screenplay and will
leave with a completed first draft of a script. Pages submitted
each week in the booth will receive supportive and thoughtful
critique from the instructor and fellow students. Along the way,
lively, multimedia lectures on particular elements of the form and
practical advice about the business will be given. Both new and
experienced screenwriters are welcome. Let’s have a screenwriting
blast together this semester.
Scout’s Honor! (Snipe Hunt and Becky’s Beaver); A Brightness Over New
Jersey; Women Behind the Bush. Awards and honors include: Daytime
Emmy Award; Tisch School of the Arts Writing Award, New York
University; Kennedy Center Award; Zarkower Award, Hunter
College; Playwriting Award, American Globe Theater.
Writing for Comics
OLC-2619-A
Sept. 19–Dec. 17
12 weeks; 3.5 CEUs; $480
specific dates.
toll-free tel. 877.242.7200 :: 125
VISUAL NARRATIVE
VNC-2347-A
NEW
This course will explore the art of storytelling and the art of
photography as a collective means of communication. How do
words affect an image? When encountering a photograph with
a story, do we read first or look first? Through a wide range of
in-class assignments and individual projects, students will be
encouraged to both write creatively and make photographs or
produce work in other visual mediums. Critiques will be given
throughout the semester. The goal of the course is to explore the
way that stories and photographs can intertwine, and for students
to begin creating a thoughtful and cohesive body of work relating
to those ideas.
STACY RENEE MORRISON, photographer. BA, Rutgers University;
MA, New York University. One-person exhibitions include: Fine
Arts Center Galleries, University of Rhode Island, Kingston; York
Quay Art Centre, Toronto; Palazzetto Eucherio San Vitale, Parma.
Group exhibitions include: Michael Mazzeo Gallery; San Francisco
Camerawork; Center for Photography at Woodstock, NY; Gregory
Lind Gallery, San Francisco; Sol Mednick Gallery, University of
the Arts, Philadelphia. Publications include: Providence Journal,
Westerly Sun, Mercury, Photography Quarterly, Mesh, Motif. Grant:
Rhode Island Council for the Humanities. The instructor’s work
can be viewed at: stacyreneemorrison.com.
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interior design
Rendering
Collaborating with the client, an interior designer may create a
house, a spa, or a restaurant of lasting beauty. The project might
be an elegant healthcare facility or a corporate headquarters. The
School of Visual Arts offers continuing education courses to introduce you to this richly rewarding field. Apply your creative passion
to this essential work; come to SVA and begin to draw your own
master plan.
IDC-2123-A
Using traditional media (watercolor, marker, pencil, various papers),
students will work on plans, elevations and perspectives of interiors
and exteriors, which show shade, shadow, light and color. Each session will be divided between demonstrations and work on drawings.
Your background may be illustration, interior design or architecture.
Expect to get your hands dirty!
NOTE: Knowledge of perspective is helpful, but not required.
RICHARD SPOKOWSKI, architectural illustrator. BFA, Concordia
College; MFA, Pratt Institute. Projects include: Nina Shoes, Miron
Lumber, Delacre Chocolates/CCD&K Advertising, Toy Park.
Clients include: GGMC; Newmark, Posner & Mitchell; Calvin
Klein; Open Works, Inc. Publications include: How to Create Your
Own Painted Lady.
INFORMATION SESSION
One night: Mon., Aug. 22
6:30 pm–8:30 pm
Spend an evening with some of our continuing education interior
design faculty; learn about the world of interior design and how our
courses can get you started in the profession. There will be time
at the end of the program for questions and answers.
NOTE: This information session will be held at 133/141 West
21st Street, room 1104C, 11th floor.
MODERATOR: Lucas Thorpe, director of operations,
BFA Interior Design Department.
COURSES
Perspective Drawing for Beginners
IDC-1019-A
This introductory course will use the grid method of drawing
perspectives. How to transform basic drawing skills into dynamic
three-dimensional interiors on paper and how to demonstrate ideas
through quick-sketching problems will be covered. Perspective
skills will also be honed to help visualize and develop ideas.
RICHARD SPOKOWSKI, architectural illustrator. BFA, Concordia
College; MFA, Pratt Institute. Projects include: Nina Shoes, Miron
Lumber, Delacre Chocolates/CCD&K Advertising, Toy Park.
Clients include: GGMC; Newmark, Posner & Mitchell; Calvin
Klein; Open Works, Inc. Publications include: How to Create Your
Own Painted Lady.
Furniture and Materials: Showroom Visits
IDC-2382-A
This course will introduce essential material resources to students
who are beginning their study of interior design. The class will tour
several of New York City’s major showrooms to become familiar
with them, view products and discuss their uses for designing
interiors. Showrooms will include: Scavolini Soho Gallery, Knoll,
Davis & Warshow, Artistic Tile, Materials ConneXion and Flos.
ELISABETH MARTIN, principal, MDA designgroup international.
BA, University of Pennsylvania; M.Arch., Yale University.
Publications include: Metropolitan Home; Planning the Modern
Public Library Building; Library Journal; New Library World; editor,
The Brooklyn Public Library Design Guidelines. Awards and honors
include: Public Architect Award, American Institute of Architects,
New York; President, Center for Architecture Foundation.
Furniture and Materials: Showroom Visits
IDC-2382-B
See IDC-2382-A for course description and instructor.
Designing Interiors
IDC-1132-A
This course will organize the creative process into distinct steps:
the study of client and user needs, writing the design “program,”
understanding the building that will house the interior design,
diagramming activity areas and drawing the interior, selecting
materials and furniture, and presenting the design. Small design
projects will serve as our focus, requiring the application of basic
skills and visual design studies.
STUART MAGER, president, Stuart Mager Incorporated Interior
Designers. BFA, Pratt Institute. Publications include: House &
Garden, House Beautiful, New York magazine, The New York Times,
Modern Living (Japan). Awards and honors include: Silver Medal,
National Association of Home Builders.
toll-free tel. 877.242.7200 :: 127
INTERIOR DESIGN
INTERIOR DESIGN
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photography
PHOTOGRAPHY
CORPORATE TRAINING
INFORMATION SESSION
6:30 pm–8:30 pm
What is the difference between taking a picture and making a
photograph? What do you need to begin working as a photographer?
Spend an evening with some of our continuing education photography
faculty; see their work and their students’ work, hear them discuss
it, and let them answer your questions on how to begin working
as a photographer. There will be a short portfolio review.
NOTE: This information session will be held at 214 East 21st
Street, room 407A, 4th floor. Seating is given on a first-come,
MODERATOR: KEREN MOSCOVITCH, visual artist,
curator, writer.
COURSES ARE LISTED UNDER THE FOLLOWING
CATEGORIES:
BASIC page 129
DIGITAL PHOTOGRAPHY page 131
ON LOCATION page 133
IN THE STUDIO page 134
SPECIALIZED AND ADVANCED page 136
BASIC
NOTE: Students cannot take equipment out of the College or
use equipment and facilities outside of class time.
Black-and-White Photography
PHC-1003-A
$480; lab fee, $85
Serving as an introduction to the analog darkroom, this course will
cover black-and-white film and print processing along with the
fundamental technical tools of the medium, such as shutter speed,
aperture, depth of field and exposure metering. Weekly assignments will explore the creative uses of light, motion, subject matter
and composition with class time devoted to aesthetic concerns
and critiques. The goal is for each student to balance technical
skills with aesthetic decisions to achieve a unique artistic vision.
NOTE: Please bring a 35mm manually adjustable film camera and
two rolls of Tri-X film to the first session. Students should estimate
$300 in supplies for this course.
MICHAEL KATCHEN, photographer senior archivist of
performance and installation art, Franklin Furnace Archive,
Inc. BFA, Philadelphia College of Art; MFA, Hunter College. Clients
include: Watch Time, Kanebo Cosmetics. One-person exhibitions
include: Stamford Museum, CT; Housatonic Museum of Art,
Bridgeport, CT. Group exhibitions include: Rhode Island School of
Design; Henry Street Settlement; College of New Rochelle; Artists
Alliance Inc. Publications include: Crain’s, Village Voice, New York
magazine, American Artist, Flavor and Fortune. The instructor’s
archive work can be viewed at: franklinfurnace.org.
Photo Principles
PHC-1040-A
Photography is a combination of interest and technique. Taking
the pictures you envision is the focus of this course. We will
explore how to apply photographic principles to improve picture
quality and avoid wasted effort. Subjects will include exposure,
light meters, flash, filters, cameras, lenses, color calibration and
white balance. Topics discussed are applicable to both digital and
traditional imaging. Individual attention will be given. This course
translates theory into action to bring your photographs to the
next level.
JOSEPH SINNOTT, senior staff photographer, WNET/New York
Public Media. BFA, School of Visual Arts. Clients include: Columbia
University Medical Center, MokaMedia Partners, Savanna Partners,
Planned Parenthood Foundation, Duke University Alumni Affairs,
The Mary Louis Academy, Lasell College, General Tours World
Traveler, Armenian General Benevolent Union, The Knot, Story
Worldwide, Christie’s, L Capital Partners, PBS, Bank of America,
Proxy Aviation, School of Visual Arts, Reilly Worldwide, Pyrock
Inc., Public Affairs Television. Publications include: Vanity Fair,
People, The New York Times, Health Clubs: Architecture & Design,
USA Today, Lexus, Endless Vacation, UPS Compass, People.
toll-free tel. 877.242.7200 :: 129
PHOTOGRAPHY
Technological advances in photography have made the medium more
ubiquitous, more accessible, and have thus freed the photographer to
pursue the development of a personal sensibility and unique vision. The
barriers that have traditionally separated different and seemingly adverse
photographic practices have begun to erode and the best photography,
whatever the genre, can be enriched by self-expressive motives.
The great strength of our photography program is its diversity and
the equal emphasis it places on all areas of photographic thinking and
practice. We have a full range of courses for every skill level, covering
cameras and equipment, lighting, negative development and enlarging,
digital technologies, as well as black-and-white and color photography.
Our labs and studios are set up for convenience and efficiency.
In addition, we offer an array of workshops from photo retouching
to location photography. We also encourage students to participate in
courses that address content, which seek to articulate observations
and then amplify them in collaboration with faculty members and
fellow students.
Digital Photography I
Alternative Photographic Processes
PHC-1042-CE
Hours: 6:00 pm–10:00 pm
For those who wish to begin their photographic education in the
digital realm, this course will embrace digital technology for its potential
to push photography’s aesthetic and conceptual boundaries.
Fundamental photographic theory and the basics of digital equipment
will be covered, including a practical introduction to Adobe Photoshop
and digital printing. In addition to camera basics such as composition,
exposure, aperture and shutter speed, students will learn about RAW
image files and how to exploit their possibilities using Photoshop.
Though we will leave the physical dark room behind, this course
will engage photography in much the same way as its predecessors,
emphasizing an understanding of light and the concept of “seeing
photographically.” Through our studies, students will begin to
master photographic ideas and digital tools in order to make
deliberate and innovative creative choices. Lab time will be used
for demonstrations and one-on-one instruction.
operating system.
NOTE: Please bring a digital SLR camera to the first session. Lab
not available. This course may be taken for undergraduate credit.
Please refer to PHD-1042-CE in the credit courses section of this
BINA ALTERA, illustrator; senior systems support specialist,
BFA Photography and Video Department, School of Visual
Arts. BFA, Art Institute of Boston. Exhibitions include: Museum
of American Illustration; Elon University, NC; California Polytechnic
University, Los Angeles; Center for Fine Art Photography, Fort
Collins, CO; Sotheby's; Victory Hall, Jersey City, NJ; Center for
the Photographic Image, Philadelphia. Clients include: The New
York Times Magazine, Boston Globe Sunday Magazine, Atlantic Monthly,
Ziff Davis, Stoltze Design, AIGA, Advertising Club of Greater
Boston. Awards include: Art Directors Club, Society of Illustrators,
Creativity. The instructor’s work can be viewed at: binaaltera.com.
PHC-1231-A
10 sessions; 3 CEUs
$400; lab fee, $85
In this course students will create hand-coated prints using
raw materials and chemistry. We will examine analog printing
processes from the dawn of photography—cyanotype, kallitype,
platinum/palladium, gum bichromate and salted paper printing.
Sessions will include lectures and printing demonstrations
followed by darkroom practice. Each week, students will bring
in large format negatives, digital negatives, or items to make
photograms with lace, botanical specimens, etc., and will have
ample opportunity to create prints using these processes. Through
guided darkroom sessions, students will create a body of work
using an alternative photographic process of their choice.
Regularly scheduled critiques will focus on intent, creativity and
technical issues of these processes.
NOTE: No previous darkroom experience is required.
LISA ELMALEH, photographer. BFA, School of Visual Arts.
One-person exhibitions include: Candela Books + Gallery,
Richmond, VA; Mana Contemporary, Jersey City, NJ; KMR Arts,
Washington Depot, CT; SVA Chelsea Gallery. Group exhibitions
include: ArtCenter South Florida, Miami; Ogden Museum of
Southern Art, New Orleans; Photoville; Bronx Museum of the
Arts; Photo Center NW, Seattle; Athens Photo Festival, Greece;
Midwest Center for Photography, Wichita, KS; 440 Gallery;
Powerhouse; Keumsan Gallery, Heyri, South Korea. Publications
include: Harper’s, Photo District News, Visura Magazine, Ragefinder.
Awards and honors include: Individual Photographer’s Fellowship,
Aaron Siskind Foundation; Ruth and Harold Chenven Foundation;
Tierney Fellowship; Puffin Foundation; Artist in the Marketplace,
Bronx Museum of the Arts. Residencies include: Goldwell Open
Air Museum, Camera Club of New York, Everglades National Park.
The instructor’s work can be viewed at: lisaelmaleh.com.
Photoshop: Basic Photo Retouching
VCC-2373-A
Sat., Sept. 24
NEW
Hours: 10:00 pm–4:00 pm
1 session; $100
Photography is vital to documenting New York City—its fabric,
people and architecture. New York is a treasure trove of photographic artifacts. In this course we will take to the streets to learn
about the history of photography through the city’s architecture,
galleries and neighborhoods. We will visit three to five venues and
discuss known (and little-known) works from the photo history
canon. Comfortable walking shoes, a keen interest in photographic
history, and a MetroCard are the only requirements.
JESS MACKTA, art historian. BA, Washington University, St. Louis;
MA, University of Arizona, Tucson. Professional experience
includes: Senior project manager, Thinkso Creative; director of
administration, 212/Harakawa; print production manager, The
Metropolitan Museum of Art; associate print production manager,
Solomon R. Guggenheim Museum.
PHC-1019-A
Sat., Oct. 15
Hours: 10:00 am–3:00 pm
1 session; $150
In this workshop, we will explore the uses of Adobe Photoshop
to remove, correct and manipulate various flaws in original images,
and reach a full understanding of the process so that the intervention
is undetectable. This workshop is an appropriate place for beginners
to explore ways to digitally enhance their analog images.
DINA KANTOR, photographer, visual artist. BA, University of
Minnesota; MFA, School of Visual Arts. Exhibitions include: Griffin
Museum of Photography, Winchester, MA; Photographic Center
Northwest, Seattle; Newspace Center for Photography, Portland;
3rd Ward. Collections include: Jewish Museum, Southeast Museum
of Photography. Clients include: Virgin Records, BizBash, Aronson’s
Flooring. Publications include: The Collector’s Guide to Emerging Art
Photography, Heeb, The Stranger. Awards include: Photo District News
Annual, Finnish Cultural Foundation, Finlandia Foundation. The
instructor’s work can be viewed at: dinakantor.com.
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Autumn in the City:
Classic NYC Photo History Tour
DIGITAL PHOTOGRAPHY
PHC-2042-CE
Hours: 6:00 pm–10:00 pm
This course is for intermediate photographers who have some
experience using a digital SLR and Adobe Photoshop. Classes will
be used for group critique, supervised computer lab sessions,
demonstration of advanced Photoshop techniques and looking
at the work of photographic masters. Digital Photography II will
emphasize the development of a personal photographic vision
and style. Students will be encouraged to initiate and sustain
a focused project over an extended period of time.
PREREQUISITE: PHC-1042, Digital Photography I, or equivalent.
NOTE: Please bring a digital SLR camera to the first session. This
course may be taken for undergraduate credit. Please refer to
PHD-2042-CE in the credit courses section of this bulletin
for details.
MAUREEN DRENNAN, photographer. BA, SUNY New Paltz;
MFA, School of Visual Arts. One-person exhibition: Centotto
Gallery, Brooklyn, Wild Project. Group exhibitions include:
National Portrait Gallery, Washington, DC; Newspace Center
for Photography, Portland, OR; RISD Museum, Providence, RI;
Guest Spot Gallery, Baltimore; Barclays Center; Centotto Gallery;
Philadelphia Photo Arts Center; Chelsea Art Museum; Australia
Centre for Photography, Paddington; Rayko Photo Center, San
Francisco; Photographic Resource Center, Boston. Publications
include: The New Yorker, California Sunday Magazine, The New York
Times, American Photo, Creative Time Reports, New York Photo Review.
Artist residencies include: Foundation Obras, Holland; Newspace
Center for Photography; Salem Art Works. The instructor’s work
can be viewed at: maureendrennan.net.
Color Correction
PHC-1023-A
Sat., Nov. 12
Hours: 10:00 am–3:00 pm
1 session; $150
The intricacies of color calibration will be studied to form an
understanding of the linkage among monitor, scanner and output.
RGB and CMYK color definitions will be discussed. This workshop
will broaden one’s creative options, and delve into color as an
essential digital tool.
TOM P. ASHE, associate chair, MPS Digital Photography
Department, School of Visual Arts; photographer, consultant.
BS, Rochester Institute of Technology; MS, RMIT University.
Professional experience includes: Regional sales manager, Monaco
Systems; development engineer, Eastman Kodak, Polaroid, Itek
Optical Systems. Group exhibitions include: RMIT Fine Art Gallery,
Melbourne; Rochester Institute of Technology. Clients include:
X-Rite, MAC Group (Mamiya America Corporation), Art Institute
of Philadelphia, Massachusetts Institute of Technology, Yale
University, Northeastern University, International Center of
Photography. The instructor’s work can be viewed at: tom.ashe.com.
toll-free tel. 877.242.7200 :: 131
PHOTOGRAPHY
PHC-1042-CE
Hours: 6:00 pm–10:00 pm
operating system.
not available. This course may be taken for undergraduate credit.
Digital Photography II
Photoshop: Basic Photo Retouching
Beauty Retouching Workshop
PHC-1019-A
Sat., Oct. 15
Hours: 10:00 am–3:00 pm
1 session; $150
In this workshop, we will explore the uses of Adobe Photoshop
to remove, correct and manipulate various flaws in original images,
and reach a full understanding of the process so that the intervention
is undetectable. This workshop is an appropriate place for beginners
to explore ways to digitally enhance their analog images.
SWC-2331-A
Hours: 10:00 am–5:00 pm
The artistic and business aspects of professional beauty retouching
will be addressed in this course. We will cover retouching techniques
that include maintaining skin texture, enhancing make-up and
improving body contours that are used to make the beautiful look
perfect. Additionally, the course will address working with clients,
negotiating the “redo” and submitting final files.
Digital Portrait
PHC-3302-A
10 sessions; 3 CEUs
$400; equipment fee, $75
The creation of a powerful portrait requires many things from the
photographer: a concept, the ability to connect with the subject,
and technical proficiency in terms of lighting, exposure and composition. It doesn’t stop there–in the digital age, we have infinitely
more control over our images than we did in the darkroom. This
course will guide you in the digital portrait process. We will learn
lighting and design concepts, as well as discuss the psychology of
the portrait. Assignments, in-class discussions and studio set-ups
will help students develop their vision and creative process. In the
computer lab, using Adobe Photoshop to enhance the portrait,
we will be covering topics of workflow, techniques for color
correction, making selections and retouching techniques.
operating system and a familiarity with Adobe Photoshop.
NOTE: Please bring a digital SLR camera and three portraits that
you think are successful to the first session.
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Beauty Retouching:
Professional Techniques Workshop
SWC-2334-A
Hours: 10:00 am–5:00 pm
Creating an advertising image begins with multiple retouching
decisions, and ends with a single image ready for publication. In
this course, we will review this process using basic retouching skills
as well as new techniques. Students will compose multiple image
files, perform beauty retouches, create a convincing silhouette,
add various effects and properly match product colors. The end
result will be a client-ready deliverable file.
PREREQUISITE: SWC-2331, Beauty Retouching Workshop,
or equivalent.
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Architecture and Photography I
PHC-2012-A
Hours: 10:00 am–1:00 pm
In this dynamic course students are introduced to architectural
photography through lectures, practical discussions of appropriate
equipment, shooting in the field, and work in Adobe Photoshop.
First learning about the photographic pioneers who made
architectural photographs in the 19th century, students are then
assigned historic structures to photograph in the style of these
early practitioners, such as Gustave le Grey and Baldus. The following lectures examine contemporary architectural photographers
and the modernist movement, specifically looking at the work of
Julius Shulman and Ezra Stoller; fine artists who use architectural
photography to examine greater concepts, such as Andreas Gursky
and Andrew Moore; and lastly, a special session devoted to photographing interiors. During class we will be photographing iconic
New York architecture such as Daniel Burnham’s Flatiron Building
and the contemporary Frank Gehry IAC building by the High Line.
In the digital lab, students will be introduced to special tools in
Adobe Photoshop that zone in on issues native to architectural
photography, such as perspective correction, High Dynamic Range
and sophisticated color interpretation. The final session will
provide for a critique of the work made during the course.
PREREQUISITES: PHC-1003, Black-and-White Photography, or
equivalent, and a working knowledge of the Macintosh computer
operating system and Adobe Photoshop.
JADE DOSKOW, photographer. BA, New York University;
MFA, School of Visual Arts. Represented by: Wall Space Gallery,
Santa Barbara and Seattle; Kipton Cronkite / @60". Exhibitions
include: Savignano Immagini Festival, Italy; Onishi Project; Art
Basel Miami Beach; Whitney Museum Art Party Benefit; inMotion; New Hampshire Institute of Art, Manchester; ABC No Rio;
Pulse Contemporary Art Fair, Miami; Affordable Art Fair; Biel/
Bienne Festival of Photography, Switzerland; Photo Center
Northwest, Seattle. Publications include: The Atlantic, CityLab,
American Photo, NPR’s The Picture Show, Flak Photo, Preservation, New
Statesman, Huffington Post, Lenscratch, Washington Post, New York
Observer, Wired, ArchDaily. Contributing photographer: Huffington
Post, ESTO Photographics. Awards include: Aaron Siskind
Scholarship, Alumni Scholarship, School of Visual Arts; Herbert C.
Rubin Award, New York University. The instructor’s work can be
viewed at: jadedoskowphotography.com.
Location and Event Photography
PHC-2146-A
Wed., Sept. 21–Oct. 26
Students will photograph live performances, active sound stages,
sporting events, parades and other challenging subjects on location.
Specialized techniques for exposure and development in extremely
low light will be demonstrated. Advanced methods for color correcting,
flash, metering and focus will be taught. Using the tools of creative
photography to render unpredictable and compelling images is
the aim of this course. Students may work digitally or with film.
The last session will be an in-class critique.
NOTE: Printing facilities are not available.
Theater, Dance, Musicals
PHC-2152-A
Wed., Nov. 2–Dec. 14
Taking performance photographs for theatrical productions—
primarily drama and dance—is the focus of this course. In addition
to hands-on technical exercises, attention is given to the development of a personal photographic style through an exploration of
aesthetic considerations. Students may work digitally or with film.
NOTE: Printing facilities are not available.
Photographing Brooklyn’s Waterfront
PHC-2017-A
Explore Brooklyn’s diverse waterfront neighborhoods with longtime resident Jade Doskow. Traveling to Coney Island, Gowanus,
DUMBO, Williamsburg and Red Hook, students will enjoy touring
and photographing the neighborhoods, learning about the local
history and visiting cultural attractions in each area.
NOTE: All sessions will meet on location in each neighborhood.
Basel Miami Beach; Whitney Museum Art Party Benefit; inMo-
toll-free tel. 877.242.7200 :: 133
PHOTOGRAPHY
ON LOCATION
tion; New Hampshire Institute of Art, Manchester; ABC No Rio;
Photographing Brooklyn’s Waterfront
PHC-2017-B
See PHC-2017-A for course description and instructor.
Trends in Photography and Contemporary Art:
What’s Happening Now
PHC-2432-A
Hours: 10:30 am–1:30 pm
This course will introduce students to the trends and forces
currently shaping the New York art scene. We will explore the
social and financial context in which dealers and collectors operate,
with special emphasis on the dynamics of art collecting. Topics
will include the relationships among artist and gallery; collector,
gallery and the private and public (auction) markets, and how all
these components are integrated into the larger “art scene.” The
role of the art critic, art journalist, art advisor and art curator will
be explored, as well as issues of “vintage” versus “later” prints and
the role of provenance when determining value. Through visits
to Chelsea, Madison Avenue and Lower East Side galleries, we will
explore these factors and others that contribute to the aesthetic
and cultural values of both photography and contemporary art,
and how these interact with market forces.
BRIAN APPEL, art critic, art consultant, editor, writer. BFA,
University of Manitoba; MA, University of Iowa. Publications
include: contributing writer, editor, rovetv, iphotocentral, artcritical,
contemporaryworks, vintageworks, Heyoka, Luminous-Lint, Boiler, The
Photograph Collector, chelseagalleries, pluk, American Suburb X. Awards
include: Canada Council for the Visual Arts, Manitoba Arts Council.
The instructor’s work can be viewed at: brianappelart.com.
IN THE STUDIO
Studio Lighting: What You Really Want to Know
PHC-2362-A
10 sessions; 3 CEUs
Have you ever seen a picture in a magazine and wondered how
the lighting was done? Using a basic knowledge of studio lighting
equipment and the careful analysis of a particular photograph, you
can learn to re-create the lighting technique in the images you see
online and in print. What technical information is hidden in the
catchlight of a model’s eyes? What do the shadows tell us about
how many lights were used and where they were placed? Is the
image a Photoshop composite or some other digital manipulation?
The answers to these questions will guide you to understanding
the lighting styles of photographers such as Jill Greenberg, Juergen
Teller, Martin Schoeller, Michael Thompson, Richard Avedon, and
many more. A slide presentation will reveal the hidden clues in an
image, and students will photograph models using that technique.
This is a hands-on, advanced-level course.
PREREQUISITE: At least one course in studio photography.
NOTE: Lighting equipment, light meters, models and seamless
backgrounds will be provided. Students must supply their own
digital or film cameras with manual exposure settings and a
hot-shoe or PC flash sync connection.
LEN DELESSIO, photographer. BFA, School of Visual Arts. Clients
include: Alice Cooper, Apple, Credit Suisse, Dolce & Gabbana,
Microsoft, OfficeMax, Viacom, Time, Women’s Health, Crayola,
Clairol, Fujinon Optical, General Foods, Mercedes Benz, Proctor
& Gamble, Sony, Elle, Glamour, GQ, Self. One-person exhibitions
include: East Wing Gallery, Columbia University; Calkins Gallery,
Hofstra University. Group exhibitions include: The Rock and
Roll Hall of Fame, Cleveland; Brooklyn Art Library; Union Square
Gallery; George Eastman House; Amos Eno Gallery; Troika 8,
England; Minna Gallery, San Francisco; ZieherSmith; Soho Photo
Gallery; Art House Gallery, Atlanta; Gallery Aferro, Newark.
Awards include: Photographis, Art Directors Club, Graphis, Society
of Publication Designers, AIGA, Desi. The instructor’s work can
be viewed at: delessio.com.
Studio/Advertising Photography
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PHC-2408-CE
Hours: 10:30 am–3:00 pm
Are you looking to find an exciting and interesting photography
career but don’t know where to start? This course will cover skills
that can help you become both knowledgeable and successful
in the field of photography. Instruction will include: correct lens
usage, various lighting styles and appropriate equipment use.
Advertising photography will be emphasized, which will provide
Lighting Workshop
PHC-2674-A
10 sessions; 3 CEUs
This course will demonstrate how to control and combine lighting
situations, as well as the creative potential of light to interpret and
define. A variety of lighting conditions and tools will be explored.
Techniques and personal style will be emphasized and we will
work with professional lighting equipment. In-class assignments
are given weekly. No previous lighting experience is required.
NOTE: Please bring a notebook, 8 to 10 examples of your work
and a camera to the first session.
Fashion Photography
PHC-2419-A
10 sessions; 3 CEUs
$400; model and equipment fee, $100
Designed for students who are seriously interested in fashion
photography, this course focuses on the anatomy of a fashion
shoot. Primarily a hands-on studio course, all aspects of the field
will be examined: editorial, advertising and beauty. Working with
models and make-up artists, the course will focus on creative
problem solving and maintaining highly personal style. We will
cover many lighting techniques, including strobe, Kino Flo and hot
lights, as well as using gels and filters for fine-tuning color and
black-and-white film. The relationship between photographer and
model, art director and client, and how to work with professional
labs will be discussed. Portfolio review will address the content
and professional presentation. Students may work with various
camera formats from 35mm to 4x5", in digital or film mediums.
PREREQUISITE: A course in studio photography, or equivalent.
NOTE: Please bring samples of your work to the first session.
JANUSZ KAWA, photographer. BFA, School of the Art Institute
of Chicago. Clients include: Vogue (Britain, Australia), Vogue
Hommes, Cosmopolitan, Rolling Stone, Interview, Sony Music, The New
York Times. One-person exhibitions include: E3 Gallery; Galerie
Art d’Ailleurs d’Aujourd’hui, Paris; Hagedorn Foundation Gallery,
Atlanta; Ex Convento Del Carmen, Guadalajara. Group exhibitions
include: The Cooper Union; Soho Photo Gallery; Chelsea Art
Museum; International Center of Photography; Les Elysées de
l’Art, Paris; Westchester Center for the Arts; Zieher Smith Gallery.
The instructor’s work can be viewed at: januszkawa.com.
Digital Portrait
PHC-3302-A
10 sessions; 3 CEUs
The creation of a powerful portrait requires many things from the
photographer: a concept, the ability to connect with the subject,
and technical proficiency in terms of lighting, exposure and composition. It doesn’t stop there–in the digital age, we have infinitely
more control over our images than we did in the darkroom. This
course will guide you in the digital portrait process. We will learn
lighting and design concepts, as well as discuss the psychology of
the portrait. Assignments, in-class discussions and studio set-ups
will help students develop their vision and creative process. In the
computer lab, using Adobe Photoshop to enhance the portrait,
we will be covering topics of workflow, techniques for color
correction, making selections and retouching techniques.
operating system and a familiarity with Adobe Photoshop.
NOTE: Please bring a digital SLR camera and three portraits that
you think are successful to the first session.
toll-free tel. 877.242.7200 :: 135
PHOTOGRAPHY
students with important experience in both studio and location
environments. Using a digital SLR 35mm camera, students will use
objects and live models to create fashion, product and still-life ads.
PREREQUISITES: A working knowledge of Adobe Photoshop and
a basic photography course, or equivalent.
NOTE: Please bring a digital SLR 35mm camera to the first session.
Lighting equipment, meters and seamless paper backgrounds will
be provided during course hours. Students must have their own
digital SLR camera and access to a computer with Adobe Photoshop.
Students must supply their own props and backgrounds other
than seamless. This course may be taken for undergraduate credit.
MARIO CALAFATELLO, photographer. Queens College; New York
University. Clients include: IBM, Revlon, Air India, Nabisco, Union
Carbide, Hathaway, AT&T, Johnson & Johnson, R.J. Reynolds,
Panasonic, Nikon, MasterCard, Playtex, Cyro Industries, Otis
Elevators, Xerox, Inside Sports, Barr Laboratories, Women’s Wear
Daily, Cotton Incorporated, Parade. Awards include: Art Directors
Club, ANDY.
SPECIALIZED AND ADVANCED
Portraiture
PHC-2426-A
10 sessions; 3 CEUs
$400; model and equipment fee, $80
What is the difference between a photograph of a person and a
portrait? Pictures of people describe; portraits define. An effective
portrait gives viewers a sense of the inner makeup of the subject:
not just what he or she looks like, but what he or she is like. During
this course we will investigate a number of different approaches
to meaningful portraiture. Along with in-class discussion and
demonstration of tools, methods and lighting, there will be sections concerning subject choice, approach, direction, and how to
overcome special problems. Critique sessions will allow students
to share their personal work and experiences.
NOTE: Please bring examples of your work (portraits or other
photographs) to the first session.
ALGIS BALSYS, photographer, painter, web design consultant.
BFA, with honors, School of Visual Arts. Group exhibitions
include: Museo de Arte Moderno de Buenos Aires, Susan Caldwell
Gallery, Louis K. Meisel Gallery. Collections include: Museu de
Arte Moderna do Rio de Janeiro, Archdiocese of New York.
Clients include: American Express, Ogilvy & Mather, Time-Life,
Fortune, Minolta, CBS, Doubleday, Group W, American Stock
Exchange, McGraw-Hill, The Seventh Art. Publications include:
Morgan and Morgan Darkroom Book; Modern Photography; Camera
Arts; Popular Photography; Portraiture; contributing editor, ICP
Encyclopedia of Photography.
Alternative Photographic Processes
PHC-1231-A
10 sessions; 3 CEUs
$400; lab fee, $85
In this course students will create hand-coated prints using
raw materials and chemistry. We will examine analog printing
processes from the dawn of photography—cyanotype, kallitype,
platinum/palladium, gum bichromate and salted paper printing.
Sessions will include lectures and printing demonstrations
followed by darkroom practice. Each week, students will bring
in large format negatives, digital negatives, or items to make
photograms with lace, botanical specimens, etc., and will have
ample opportunity to create prints using these processes. Through
guided darkroom sessions, students will create a body of work
using an alternative photographic process of their choice.
Regularly scheduled critiques will focus on intent, creativity and
technical issues of these processes.
NOTE: No previous darkroom experience is required.
LISA ELMALEH, photographer. BFA, School of Visual Arts.
One-person exhibitions include: Candela Books + Gallery,
Richmond, VA; Mana Contemporary, Jersey City, NJ; KMR Arts,
Washington Depot, CT; SVA Chelsea Gallery. Group exhibitions
include: ArtCenter South Florida, Miami; Ogden Museum of
Southern Art, New Orleans; Photoville; Bronx Museum of the
Arts; Photo Center NW, Seattle; Athens Photo Festival, Greece;
Midwest Center for Photography, Wichita, KS; 440 Gallery;
Powerhouse; Keumsan Gallery, Heyri, South Korea. Publications
include: Harper’s, Photo District News, Visura Magazine, Ragefinder.
Awards and honors include: Individual Photographer’s Fellowship,
Aaron Siskind Foundation; Ruth and Harold Chenven Foundation;
Tierney Fellowship; Puffin Foundation; Artist in the Marketplace,
Bronx Museum of the Arts. Residencies include: Goldwell Open
Air Museum, Camera Club of New York, Everglades National Park.
The instructor’s work can be viewed at: lisaelmaleh.com.
READY TO REGISTER?
Art and the Everyday
Details on page 4
PHC-2741-A
When every moment is photographed, uploaded, tagged and
shared, it can be difficult to see beyond the momentary to the
momentous. This course will look at how artists have engaged
with daily life as fodder and inspiration for their art practices from
the 1960s to now. We will explore photographic trends of the
everyday and how artists incorporate their daily encounters to
produce images of importance. Students will gain perspective on
photography's history and build a foundation upon which they can
insightfully pull apart the minutiae to empower personal moments
as creative growth, and to weigh the small activities in life as
insightful and necessary to art-making. We will examine the
“everyday” through such topics as meals, presence/proof, reality
TV, desire, the banal and relationships, as well as the artists who
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Articulating Your Vision:
The Art of Portfolio Creation
PHC-3017-A
Wed., Sept. 21–Oct. 26
This course is for emerging artists working in the photographic
medium who are interested in polishing their portfolios both
technically and conceptually. Through weekly group critiques, each
student’s work will be reviewed and discussed in relation to his or
her immediate and long-term goals. We will also spend some time
reviewing artists’ statements, on which each student will receive
individual feedback. Students will be encouraged to bring in
completed projects or works-in-progress for editing, as well as
to shoot new work for inclusion in their portfolios. Whether you
are planning on applying to graduate school or seeking exhibition
or commercial opportunities, this course will help you articulate
your vision.
KEREN MOSCOVITCH, visual artist, curator, writer. BA,
Georgetown University; MFA, School of Visual Arts. Exhibitions
include: Bruce Silverstein Gallery; I-20 Gallery; SLAG Gallery;
Foley Gallery; Vlepo Gallery; Visual Arts Gallery; Laune Gallerie,
Tokyo; SoFA Gallery, Bloomington, IN; Art + Commerce Festival
of Emerging Photographers; Rosenzweig Gallery, Durham, NC;
Makor/Steinhardt Center; (the) Slap-n-Tickle (me) Gallery,
Kansas City, MO. Performances include: Gasser Grunert Gallery,
Chelsea Museum, AW Asia, Grace Exhibition Space. Collections
Publications include: New York magazine, Zeek, Playboy, Visual Arts
Journal, Quest, PolicyMic, Der Spiegel, Peek, Huffington Post, ArtPulse,
Domino, Industry. Monograph: Me Into You. The instructor’s work
can be viewed at: kerenmoscovitch.com.
Ball Of Confusion: Affecting Social Change
Through Photography
PHC-2642-A
Finally, a photography course that tackles social injustice head on.
Students will examine how photographers and other creative
citizens affect social change through art. Using a range of historical
and contemporary social movements as case studies, we will
consider their advantages and limitations from a communications
perspective. In addition to photographic imagery, the course
will deconstruct slogans, symbols and music as instruments of
persuasion, inspiration and opposition within a socio-political and
socio-cultural context. In the end, students will have the opportunity
to use photography to document their circumstances, share their
stories and change not only their lives, but also the lives of those
in their communities.
E. ADAM ATTIA, visual artist. BFA, with honors, School of Visual
Arts. Exhibitions include: Atlantic Gallery; SVA Chelsea Gallery;
Sargent’s Daughters; 1xRun, Detroit; River Arts, Damariscotta,
ME; Falaki Gallery, American University in Cairo. Publications
include: Wall Street Journal, The New Yorker, Portland Press Herald,
New York magazine, Ad Week, NY Daily News, New York Post,
Huffington Post. Award: Rhodes Family Award, School of Visual
Arts. The instructor’s work can be viewed at: eadamattia.com.
Documentary Photography
PHC-2153-A
This course teaches students how to create a compelling narrative
told through pictures and make photographs like the “giants”
including Henri Cartier-Bresson, Andre Kertesz, Josef Koudelka,
Robert Frank, Stephen Shore, and more. Throughout the course
we will examine their work, explore their agendas as documentarians, and how their sensitive sensibilities make great impressions
upon us. While this is a shooting course, our time in the classroom
is structured so that open discussions and weekly critiques of your
work are an integral component as you create your photo documentary. We will also take shooting field trips, read from works
that illustrate what it means to think and see photographically,
and assign independent visits to galleries and museums to see
great photographs in person. Assignments are also given to best
support your specific needs.
NOTE: Students are expected to bring in their work for critique in
the form of prints or digital files. Darkroom facilities are not available.
RICHARD SCHULMAN, photographer. BA, University of California,
Berkeley. Group exhibitions include: Basel Art Fair; Apple Inc.;
Track 16 Gallery, Los Angeles; Bruce Silverstein Gallery; Musée
d’Art Moderne et Contemporain, Geneva; Blum-Helman Gallery;
G. Ray Hawkins Gallery, Los Angeles; Gallery Weber, Geneva.
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PHOTOGRAPHY
have worked with said themes, including On Kawara, Moyra
Davey, Sophie Calle and Nan Goldin, among others. Each week
will include discussion of texts related to the week's topic, presentations on photographers, and biweekly critiques of student work.
Students will also keep a daily journal for sketches, ideas and photographs. These assignments culminate in a final student-defined
project. The goal is to compile a body of work that explores creative
representation of the seemingly trivial moments that make up a
life, and to find a voice in representing significant moments in our
fast-paced lives.
MAGALI DUZANT, visual artist. BA, Carnegie Mellon University;
MFA, Parsons The New School for Design. One-person exhibitions
include: Local Project. Group exhibitions include: Harbor Gallery;
NARS Foundation; State Hermitage Museum, St. Petersburg;
Aronson Gallery; Sawtooth ARI, Launceston, Tasmania; Friedman
Gallery; Auckland Festival of Photography; Temple Contemporary,
Philadelphia; DUMBO Arts Festival. Publications include: I Looked
& Looked; SoSo Magazine; Interview; Der Greif; Reframing Photography:
Theory and Practice; The New York Times, Pittsburgh Tribune Review.
Awards and honors include: New York Foundation for the Arts,
Queens Council on the Arts. Residencies include: Kala Art
Institute, Parramatta Artist Studios, NARS Foundation.
JEANETTE SPICER, visual artist. BS, The Art Institute of Philadelphia;
MFA, Parsons The New School of Design. Group exhibitions
include: Trestle Gallery; Gowanus Open Studios; Living Gallery;
Bushwick Open Studios; Alice Austen House; BRIC; Camera Club
of New York; Art Basel, Miami; Counterspace Gallery, Las Vegas;
Arnold and Sheila Aronson Galleries; Subtle Rebellion Gallery,
Abingdon, MD; Tyler School of Art, Philadelphia; Greenpoint
Gallery; University of the Arts, Philadelphia. Publications include:
Rinse: Connecting Portfolios and Photography, The Raw Book, Aint-Bad
Magazine. Residencies include: Contemporary Artist Center at
Woodside, Vermont Studio Center, Brooklyn Art Space. The
instructor’s work can be viewed at: jeanettespicer.com.
Books include: Portraits of the New Architecture, Portraits of the New
Architecture 2. Publications include: The New York Times, Vogue,
Photo, The New Yorker, Vanity Fair. The instructor’s work can be
viewed at: schulmanphotography.com.
In the Moment: Connecting with Your Subject
PHC-2189-A
Capturing human subjects presents one of the biggest challenges
to photographers, regardless of their level of experience. It requires
connection, understanding and focus on the individual. In this
course, students will learn how to deepen their level of intimacy
with the people they photograph in order to create more compelling images. We will discuss student work every week, as well as
examine the work of noted historical and current photographers.
Students will have a combination of self-created assignments and
class assignments to encourage breaking barriers and crossing
boundaries to connect with your subject. This course is for all
photographers from beginners through advanced; students can
use film and/or digital cameras.
NOTE: Please bring 6 to 10 examples of your work to the first
session. Darkroom facilities are not available. Students using film
should have access to a darkroom or use a commercial lab.
BARBARA NITKE, photographer. Baruch College, The New
School, School of Visual Arts. Clients include: The Good Wife, Project
Runway, Royal Pains, America’s Next Top Model, Dr. Oz. Exhibitions
include: Art at Large; Barrister’s Gallery, New Orleans; Barbara
Levy Gallery; Richard Anderson Gallery; International Center for
Photography; Museum of Sex; CampArt. Publications include:
American Lawyer, New York Press, Village Voice, The New York Times,
Newsweek, Time Out New York. Books include: American Ecstasy, Kiss
of Fire. The instructor’s work can be viewed at: barbaranitke.com.
Inside the Gallery
PHC-3723-A
Tues., Oct. 18–Nov. 8
This course is geared toward fine art photographers who are
interested in developing a long-term association with a gallery.
We will discuss many of the elements required for a mutually
successful artist/gallerist relationship so that you are better
prepared to begin working with a gallery. Practical advice on
approaching galleries, professionalizing your portfolio and having
a clear artist statement will be addressed, as well as current trends
in photography. Readings from Seven Days in the Art World
will be recommended.
NOTE: Please bring a portfolio of prints and an artist’s statement
MICHAEL BRIAN FOLEY, photographer; owner, Foley Gallery.
BA, Boston College. Exhibitions include: Fraenkel Gallery, San
Francisco; Ebert Gallery, San Francisco; Soletti Gallery, Milan;
San Francisco Camerawork. Collections include: Washington Center
of Photography. Publications include: Photo Metro, Quiver, Zyzzyvz.
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Photographic Identity: Artistic Self-Expression and
Professional Application
PHC-3094-A
The digital revolution has brought new possibilities for photographers, including a multitasking process that goes far beyond the
creation and delivery of images. This course aims to create a
conversation between conceptual ideas and practical applications.
It will assist students with crafting their individual photographic
identity and discovering their niche in the fields of fashion, advertising, commercial, journalistic and art photography. Each student
will work on a personal photographic concept that will be created
and refined throughout the semester. In addition, professional
aspects of photography will be addressed through topics such as
networking, social media, portfolio presentation, assignment hunting, client relationships, execution and delivery. Professionals from
the industry such as photographers, art directors, art buyers and
producers will visit the course to share their career experiences
and their ideas on past, contemporary and future developments in
the medium. Scheduled guests include Jean-Pierre Laffont, Richard
Kern, Julian Alexander, Hollis King, Stacey Leigh and Vin Farrell.
THORSTEN ROTH, photographer, director. Diploma, Bielefeld
University of Applied Sciences. Professional experience includes:
Photographer, video production, “Bring It On Home,” Joan
Osborne; AJ Production, N6 Production; George Production;
SNAP; LAH Produces; Urban Production; photo assistant, Pin Up
Studios, Paris, Condé Nast France; Getty Images; Wire Image;
Retna; Waz Group. Clients include: Time Life Music; Edelman
Group; EMI Music Group; ImClone Systems; Porsche Design;
Saks Fifth Avenue; Kate Spade; Jack Spade; Esarsi; NGML Group;
Shine Media; Rani Zakhem; Young & Rubicam; Loewe; Lingerie
Fashion Week, Deutsch. Publications include: Tatler, Marie Claire,
French Photo, Cosmopolitan, MR, Athlete’s Quarterly, Jazz Thing, El País
Semanal, Retna, LeBook, Lingerie Talk, Beautiful Savage,
The Lingerie Journal, The World of Models, The New York Optimist,
Haute Living, Everlast, Resource. The instructor’s work can be viewed
at: thorstenroth.net.
Portfolio Workshop: Landscapes and the Built
Environment
The Art of Consequence:
Strategies for Lens-Based Media
PHC-3518-A
NEW
This course will examine the relationship between an artwork and
a viewer’s agency (i.e., the viewer’s decision making and action in
response to the work). The objective will be to make charged
encounters for the viewer, which require his or her participation
with meaningful consequences. Part research laboratory, part think
tank, this course will explore the use of agency in contemporary
art and theoretical texts on the subject, while brainstorming ways
of creating new encounters for viewers through photography and
video. Students will be encouraged to develop strategies for
engaging viewer agency within their particular area(s) of interest.
Results can be anything from subtle self-reflection to a punch in
the gut, so to speak. Some artists and thinkers we will look at
include Marina Abramovic, Vito Acconci, Alain Badiou, Claire
Bishop, Félix González-Torres, Leigh Ledare, Jacques Rancière.
ART VIDRINE, visual artist, critic. BA, University of North
Carolina; MFA, School of Visual Arts. Group exhibitions include:
MUX: Asheville Video Art Festival, NC; NIAD Art Center,
Richmond, CA; Williamsburg’s Sideshow Gallery; Miami Project;
The Intimate Lens
PHC-3264-A
Wed., Nov. 2–Dec. 14
The camera has increasingly become an extension of the
photographer, as contemporary artists draw inspiration from their
personal lives, and the private chambers of the bedroom. From
Laura Letinsky’s romantic documentation of couples to Ryan
McGinley’s subversive downtown sexuality and Nan Goldin’s and
Sophie Calle’s depictions of the darker side of love, this course
will explore the role of photography as a conduit to the expression
of sexuality, love and romance. Students will be encouraged to
use their photographic practice to open a line of inquiry into their
own private lives, and express a deep part of their personal
experience. This course will not take place in a studio setting.
Class time will be devoted to lecture, discussion and critique.
KEREN MOSCOVITCH, photographer. BA, Georgetown University;
MFA, School of Visual Arts. Exhibitions include: I-20 Gallery;
SLAG Gallery; Foley Gallery; Vlepo Gallery; Bruce Silverstein
Gallery; Visual Arts Gallery; Laune Gallerie, Tokyo; SoFA Gallery,
Bloomington, IN; Rosenzweig Gallery, Durham, NC; Westside
Gallery; Art + Commerce Festival of Emerging Photographers;
Makor/Steinhardt Center; (the) Slap-n-Tickle (me) Gallery, Kansas
City, MO. Publications include: New York magazine, Vogue Nippon,
Zeek, Visual Arts Journal, Quest, Domino, Peek, Industry. Collections
The instructor’s work can be viewed at: kerenmoscovitch.com.
The Photographic Series as Performance
PHC-2652-A
In this course students will work on the development of a photographic series with the intention that the final representation
could be read as stills from a performance. Concept, continuity
and choreographic considerations will be developed and refined.
The course will introduce the various presentation modes, uses
of the body and intentions of performance art from incongruous
and absurd Dada performance works to the grotesque and playful
work of Carolee Schneemann, the vulnerability of Yoko Ono and
Marina Abramovic, and the protest performances of Lorraine
O’Grady, among others. We will also review artworks that could
be read as performance, as well as survey performance works as
references for durational tones to be developed in the work.
NAOMI ELENA RAMIREZ, multidisciplinary artist. Group exhibitions include: Wallplay Gallery; Onomatopee Gallery, Eindhoven,
the Netherlands; Arts@Renaissance; The Situation Room, Los
Angeles; Gallery 107, North Adams, MA; Arte Nuevo InteractivA,
Mérida, Mexico; Eugene Lang College; Center for Performance
Research; Greenpoint Gallery. The instructor’s work can be viewed
at: naomielenaramirez.com.
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PHOTOGRAPHY
PHC-3841-A
Fri., Nov. 4– Dec. 16
NEW
Hours: 10:00 am–1:00 pm
In this specialized critique course, students will have the opportunity to hone their personal vision and create a fine art portfolio
of work that is focused in the areas of landscape and/or the built
environment. Through presentations, gallery and museum visits,
critique, and discussion of postproduction techniques, students
will polish their photography projects for website or print.
Discussions will touch upon current trends in photography, the
difference between a commercial and a fine art portfolio, and
how to best present work in galleries and online.
NOTE: Please bring a portfolio of work that is current and relates
to your interests to the first session.
Basel Miami Beach; Whitney Museum Art Party Benefit; inMotion; New Hampshire Institute of Art, Manchester; ABC No Rio;
EFA Project Space; FUSE Art Infrastructure, Allentown, PA;
California Conference to the Advancement of Ceramic Art,
Sacramento; San Francisco Zoo. Publications include: ArtSlant,
TransBorder Art.
Trends in Photography and Contemporary Art:
What’s Happening Now
PHC-2432-A
Hours: 10:30 am–1:30 pm
This course will introduce students to the trends and forces
currently shaping the New York art scene. We will explore the
social and financial context in which dealers and collectors operate,
with special emphasis on the dynamics of art collecting. Topics
will include the relationships among artist and gallery; collector,
gallery and the private and public (auction) markets, and how all
these components are integrated into the larger “art scene.” The
role of the art critic, art journalist, art advisor and art curator will
be explored, as well as issues of “vintage” versus “later” prints and
the role of provenance when determining value. Through visits
to Chelsea, Madison Avenue and Lower East Side galleries, we will
explore these factors and others that contribute to the aesthetic
and cultural values of both photography and contemporary art,
and how these interact with market forces.
BRIAN APPEL, art critic, art consultant, editor, writer. BFA,
University of Manitoba; MA, University of Iowa. Publications
include: contributing writer, editor, rovetv, iphotocentral, artcritical,
contemporaryworks, vintageworks, Heyoka, Luminous-Lint, Boiler, The
Photograph Collector, chelseagalleries, pluk, American Suburb X. Awards
include: Canada Council for the Visual Arts, Manitoba Arts Council.
The instructor’s work can be viewed at: brianappelart.com.
PDC-3499-A
be identified and discussed. You will develop a business plan for a
creative services organization you conceive. You will be challenged
in how you think of owning a business. Perceptions will be
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Exhibition Making
VSC-2604-A
Fund Grant.
Guy Bärtschi.
PHOTOGRAPHY
ONLINE COURSES
Creative Seeing
Social Documentary:
Photographing with Your Heart
OLC-2321-A
NEW
Sept. 19–Nov. 12
Passion, empathy and hard work are the basic requirements to tell
a meaningful story. This intense course will push you to connect,
see, write and relate to your subjects to tell their story. With a
camera in your hand and an open heart, you can make a difference
in this world. Students are required to be curious, open, engaged
and supportive of one another.
PREREQUISITE: A working knowledge of essential camera and software operations, including using manual exposure, downloading,
resizing and uploading digital files.
RADCLIFF “RUDDY” ROYE, documentary photographer.
Publications include: The New York Times, Vogue, Jet, Ebony, Essence.
Group exhibition: National Gallery of Jamaica. Awards include:
Fellow, New York Foundation for the Arts.
OLC-2334-A
NEW
Sept. 19–Nov. 12
Through creative exercises, group discussions and guided projects,
students in this course will develop a coherent series of images
in response to the conceptual intersections of queer studies and
photography. We will review theoretical texts in queer studies
alongside the artworks of photographic artists whose work engages
with the radical concepts of the discipline. Topics to be considered
will range from such issues as representations of queer identity in
early photography, surrealism and the self, sex and censorship
in photography, and (in)visibility of transgender bodies. With NYC
as the backdrop, students will be introduced to cultural landmarks
related to course topics. Virtual class visits will be conducted to
such venues as The Leslie Lohman Museum of Gay and Lesbian
Art; The Archive at the Lesbian, Gay, Bisexual and Transgender
Community Center; and The Elizabeth A. Sackler Center for
Feminist Art at the Brooklyn Museum. Students in this class will
create (or expand upon) a cohesive body of work, effectively
incorporate queer theory in artworks and artists’ statements, and
contribute research to a blog dedicated to class topics.
PREREQUISITE: A working knowledge of your camera and editing
software of your choice. It is recommended that participants have
some experience with creating cohesive projects or portfolios.
No prior coursework in queer studies is necessary.
LORENZO TRIBURGO, photographer. BA, New York University;
MFA, School of Visual Arts. Professional experience includes:
Commercial photographer, Straub Collaborative, Inc. One-person
exhibitions include: Portland State University, OR; University of
the Arts, Philadelphia; Governors State University, Chicago;
Newspace Center for Photography, Portland, OR. Group exhibitions
include: Portland Art Museum, OR; Magazzini del Sale di Palazzo
Pubblico, Siena, Italy; Bruce Silverstein Gallery; Photographic
Resource Center, Boston; Philadelphia Photo Arts Center; Ouede
Kerk, Amsterdam; DutchTrading Post, Nagasaki. Publications
include: Transgender Studies Reader 2, Routledge, Portland Monthly,
Photo District News. Awards and honors include: First Place, The
Curator Competition, Photo District News; First Place, Pride Photo
Award, Amsterdam; The Center for Fine Art Photography.
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PHOTOGRAPHY
OLC-2314-A
Sept. 19–Nov. 12
A compelling photograph never starts with the camera, but always
with the spirit of the photographer holding it. This fine-art class
will encourage you to explore and expand your creative vision
with weekly seeing and photography exercises. This course is
recommended for beginner photographers and for those who
want to refresh, recharge and fine-tune how they see the world
and the possibilities for making creative images.
SEÁN DUGGAN, photographer, author, digital consultant.
Books include: Photoshop Masking and Compositing; Real World
Digital Photography; The Creative Digital Darkroom; Photoshop Artistry.
Other publications include: Photoshop User, Layers, Digital Photo Pro.
The instructor’s work can be viewed at: seanduggan.com.
#GenderSexPhoto:
Queer Studies, Feminist Art
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visual and critical studies
INFORMATION SESSION AND PORTFOLIO REVIEW
6:30 pm–8:30 pm
Meet our faculty and learn more about our dynamic course offerings, which reflect a rapidly expanding visual culture. Bring your
portfolio and get feedback from a selection of our art history,
critical theory and studio faculty.
Street, room 402C, 4th floor. Seating is given on a first-come,
MODERATOR: Paloma Crousillat, director of operations, BFA
Visual and Critical Studies Department
ART HISTORY AND THEORY COURSES
Modern Aesthetics
VCC-2651-A
This course is conceived of as an experiment of sorts: It will survey
some of the most influential modern aesthetic theories by looking
at them through the prism of Theodor W. Adorno’s reflections.
It aims to illuminate facets of major problems in aesthetic theory—
the relation of nature and art, the meaning of aesthetic theory for
social critique, the relevance of the element of form in the artwork, and the nature of spontaneity in aesthetic experience—all
considered from contrary, even contradictory perspectives. If, as
Immanuel Kant once conceded, metaphysics has been a “battlefield … of endless controversies,” barely anything less can be said
of the field of aesthetics. We will examine these controversies,
expressed in modern aesthetic theories, as symptoms of society’s
crisis. The class will deal with works by such authors as Søren
Kierkegaard, Georg Lukács, Walter Benjamin, Benedetto Croce,
John Dewey, Edmund Husserl, Martin Heidegger, Jean-Paul Sartre,
Jacques Derrida and Theodor W. Adorno. Different texts are
covered each semester and some authors may change.
NOTE: No previous knowledge of the works of these thinkers is
required to take this course.
Adorno’s Aesthetic Theory
VCC-2643-A
Theodor W. Adorno is the most prominent representative of the
Frankfurt School of critical theory. Aesthetics is at the center of his
philosophy, which deals with contemporary society and its conflicts. His posthumously published book Aesthetic Theory counts as
one of the most intriguing philosophical works about art and aesthetics in the 20th century. Aesthetic Theory is concerned with the
transformations in the traditional concepts of philosophy of art
and aesthetics triggered by the critical situation of art in society.
This course will study the book’s pivotal arguments through close
readings, accompanied by some of Adorno’s other philosophical
and sociological writings. They shall prepare the ground for the
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Visual and critical studies courses at SVA are designed to engage and
challenge students in areas beyond a single medium of expression
and creation. The dynamic course offerings reflect our rapidly
expanding visual culture and the increasing urgency to educate students
about all aspects of visual experience.
Our art history and theory courses cover a wide array of historical
and theoretical movements, from the relation of art and politics
to the role of the curator. These courses incorporate readings and
lectures with guest speakers, studio visits and group discussions.
The visual and critical studies studio courses offer students the
opportunity to create work while investigating the historical, cultural
and theoretical movements that give their work dimension. Classes
consist of studio time and home assignments paired with lectures
and critiques. The goal is to provide students with a multidisciplinary
approach to making art, one in which medium and message realize
themselves simultaneously through the artist’s studio practice.
understanding of the main arguments of the book. This course is
open to all students interested in this seminal work; no previous
knowledge of Adorno or critical theory is necessary.
NOTE: No previous knowledge of these authors is required to take
this course. A reader will be provided, in PDF format.
Autumn in the City:
Classic NYC Photo History Tour
NEW
VCC-2373-A
Sat., Sept. 24
Hours: 10:00 pm–4:00 pm
1 session; $100
Photography is vital to documenting New York City—its fabric,
people and architecture. New York is a treasure trove of photographic artifacts. In this course we will take to the streets to learn
about the history of photography through the city’s architecture,
galleries and neighborhoods. We will visit three to five venues and
discuss known (and little-known) works from the photo history
canon. Comfortable walking shoes, a keen interest in photographic
history, and a MetroCard are the only requirements.
JESS MACKTA, art historian. BA, Washington University, St. Louis;
MA, University of Arizona, Tucson. Professional experience
includes: Senior project manager, Thinkso Creative; director of
administration, 212/Harakawa; print production manager, The
Metropolitan Museum of Art; associate print production manager,
Solomon R. Guggenheim Museum.
Art and Music
AHC-2423-A
NEW
This class will explore the symbiotic relationship between music
and art & architecture. Artists and musicians have continually
explored ways of emphasizing their connections, painting what
they hear and composing what they see. Through select case studies we will explore concepts such as synaesthesia, sound art and
visual music. Weekly lectures will provide historical background
material, and we will listen to music while looking at art. Topics
include: composers such as Claude Debussy and Franz Liszt, who
wrote scores based upon specific paintings; modern artists such as
Wassily Kandinsky, who felt that color and sound were connected
to our souls; experimental graphical music scores of the 1960s;
abstract art and jazz; the costumes and sets of the radical Ballets
Russes; and instruments that play color and light.
SHARON M. SUCHMA, art historian. BA, Fordham University;
MA, Hunter College; M.Phil., CUNY Graduate Center.
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Ball Of Confusion: Affecting Social Change
Through Photography
PHC-2642-A
Finally, a photography course that tackles social injustice head on.
Students will examine how photographers and other creative
citizens affect social change through art. Using a range of historical
and contemporary social movements as case studies, we will
consider their advantages and limitations from a communications
perspective. In addition to photographic imagery, the course
will deconstruct slogans, symbols and music as instruments of
persuasion, inspiration and opposition within a socio-political and
socio-cultural context. In the end, students will have the opportunity
to use photography to document their circumstances, share their
stories and change not only their lives, but also the lives of those
in their communities.
E. ADAM ATTIA, visual artist. BFA, with honors, School of Visual
Arts. Exhibitions include: Atlantic Gallery; SVA Chelsea Gallery;
Sargent’s Daughters; 1xRun, Detroit; River Arts, Damariscotta,
ME; Falaki Gallery, American University in Cairo. Publications
include: Wall Street Journal, The New Yorker, Portland Press Herald,
New York magazine, Ad Week, NY Daily News, New York Post,
Huffington Post. Award: Rhodes Family Award, School of Visual
Arts. The instructor’s work can be viewed at: eadamattia.com.
Psychoanalysis and Art
VHC-2431-A
NEW
Both art and psychoanalysis have the capacity to tell us something
about ourselves. This course will examine the relationship between
psychoanalysis and art on multiple levels, focusing on how each
have influenced the other in both theory and practice. Since the
birth of psychoanalysis, artists have borrowed ideas from its theory
to inform their own practices, notably in the fascination of the
surrealists with dreams and the unconscious mind. Likewise,
psychoanalysis has at times looked to art for clues about the self.
We will look to the history of modern art and psychoanalysis to
discover the different ways of knowing each provides through
concepts like play and creativity, repression and expression, neurosis, sexuality, and (dream) symbolism. Readings include the works
of analysts like Freud, Lacan and D.W. Winnicott, among others,
and those of theorists and art historians like T.J. Clark, Walter
Benjamin and Theodor Adorno. Guest lecturers and film screenings
will be among the stimuli that inform our discussion.
JAMIE KEESLING, operations manager, SVA Galleries; visual
artist; writer. Professional experience includes: Co-director,
curator, MVSEVM, Chicago. Publications include: ArtSlant, Platypus
Review. Residency: Mildred’s Lane.
World
The Fourth Dimension: Video, Space and the
Broken Screen
AHC-2388-A
This course offers pathways through the visual language of
nonlinear narratives, split screens, fragmentary visual planes and
their relationships with space and spatial design. We will read, view
and discuss contemporary examples from selected projects made
by artists, filmmakers, designers and architects that speak to these
issues. Through critical discussions students will gain a fresh look
at new practices of art-making that make use of emerging technologies. Topics include: object and projection, video and sound
installation, multichannel video work, digital media and architec-
From Selfie to Self-Portrait: Creating a Visual Memoir
VCC-2156-A
Hours: 6:00 PM–8:00 PM
Every artist has a story. A selfie is a moment of this story. The aim
of this course is to give the selfie context and continuity—a home.
We need a home to become mindful of our artist narrative, the
story we tell ourselves about ourselves. Meditation is a way to
create this inner home. This course is designed to work with the
challenges of establishing a routine. In-class assignments will help
you to establish a three-step meditation practice for your daily life.
Using insights and techniques of Jungian theory, we will explore
how your personal, family and cultural history shapes your artistic
narrative and how this history supports or sabotages your meditation. Your self-portrait, in the medium of your choice, can then
emerge as an externalization of this internal process.
ANNETTE R. LIEBERMAN, psychoanalyst, visual artist. BS,
cum laude, Tufts University; MSW, Hunter College. Professional
experience includes: Art therapist, Bellevue Psychiatric Hospital;
consultant, Actors Fund of America. Group exhibitions include:
Ceres Gallery; Woodstock Artists Association and Museum, NY;
Woodstock Byrdcliffe Guild, NY; 440 Gallery. Editorial projects
include: The Money Mirror: How Money Reflects Women’s Dreams,
Fears and Desires.
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VCC-2271-A
tural space, non-traditional spaces, and video art in public spaces.
The course is guided by the work of artists such as Bruce Nauman,
Joan Jonas, Doug Aitken, Lars Von Trier, Jane and Louise Wilson,
Olafur Eliasson, Pipilotti Rist, Eija-Liisa Ahtila, Robert Wilson,
Douglas Gordon and Matthew Barney, as well as by concepts
and pronouncements by critics and visionaries such as Rosalind
Krauss, Lev Manovich, Walter Benjamin, Hans Ulrich Obrist and
Rem Koolhaas.
OFRI CNAANI, fine artist. MFA, Hunter College. One-person
exhibitions include: The Metropolitan Museum of Art; MoMA
PS1; BMW Guggenheim Lab; Fisher Art Museum, University of
Southern California, Los Angeles; Haifa Museum of Art, Israel;
Herzliya Museum of Contemporary Art, Israel; Network of
Lombardy Contemporary Art Museums, Italy; Kunsthalle Galapagos;
Andrea Meislin Gallery; Braverman Gallery, Tel Aviv; Pack Gallery,
Milan. Group exhibitions include: The Kitchen; Moscow Bienniale
of Contemporary Art; Bronx Museum of the Arts; Kunsthalle Wien;
Arnolfini, Bristol, U.K.; Tel Aviv Museum of Art; Israel Museum,
Jerusalem; International Triennale of Contemporary Art, Prague.
Awards and honors include: Six Points Fellowship, America-Israel
Cultural Foundation; Research Award, Hadassah-Brandeis Institute;
Artist in the Marketplace, Bronx Museum of the Arts; Philip and
Muriel Berman Foundation. The instructor’s work can be viewed
at: ofricnaani.com.
STUDIO COURSES
VSC-2237-CE
for painting.
refer to VSD-2337-CE in the credit courses section of this bulletin
for details.
The City Through the Body
VSC-2243-A
The cultural theorist Siegfried Kracauer claimed, “one’s body takes
root in the asphalt.” This course begins with that claim to explore
sensuous encounters in and with the city. Particular sounds,
visions, textures, smells and tastes situate cities as sensory environments that cultivate hedonism, pleasure and desire. We will look at
how bodies and senses can order space and configure experience.
Course material draws from social theory, art, film, music and
literature. We will use the city as laboratory, taking advantage of
our surroundings as an extension of the classroom and will divide
class time between discussions, workshops, field trips and projectbased work. Students will complete a series of small exercises
leading to a larger project of their choice and that explores the
interface between bodies and cities. The projects, although mainly
studio-based, will ask students to develop, through writing, a critical discourse to accompany their portfolio work. This will allow
students to present their own practice in a variable set of social
and cultural dynamics conversant with a variety of fields, including
the social sciences, philosophy, design, architecture and art.
NOTE: Open to all students; no previous knowledge of the topics
or specific skills are required.
and honors include: Andrew W. Mellon Foundation; The
Graduate Institute for Design, Ethnography & Social Thought,
The New School for Social Research; University of Amsterdam.
Art; Rincón Projects, Bogotá; Abrons Arts Center; El Museo de
los Sures; White Box; Artium Museum, Vitoria-Gasteiz, Spain;
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Feminist Internet Performance Art Studio
VSC-2716-A
Can you create performance art on Instagram? What about a
dystopian tutorial on YouTube? Can your tweets become poetry?
We will explore these questions through rigorous experimentation
in the studio, and the development of individual and group interdisciplinary projects. Over the course of the semester we will examine
such themes as Internet surveillance, networked performances,
glitch feminism, Internet poetry, and 2L Virtual Worlds. We will
take a critical approach through various readings, which students
will apply to their projects and creative process. Readings will
include bell hooks, Judith Butler, José Esteban Muñoz and Anita
Zarkeesian. We will explore and discuss artists such as Juliana
Huxtable, Jacolby Satterwhite, niv Acosta, Wafaa Bilal, Legacy
Russell and Emma Sulkowicz.
HALEY BUESCHLEN, visual artist. MFA, New School University.
Group exhibitions include: The Photographer’s Gallery, London;
International Center for Photography Triennial; Hasted Kraeutler;
Siskind Gallery, Rochester, NY; REVERSE; State Hermitage Museum,
St. Petersburg; Pingyao International Photography Festival, China;
Temple University, Philadelphia; Milk Gallery; Bangalore National
Gallery of Modern Art, India. Collections include: International
Center for Photography Library; Harvard University Fine Arts
Library; Robert B. Haas Family Arts Library, Yale University.
Publications include: Time, BLOUIN ARTINFO. Awards include:
Franklin Furnace Fund Grant; artist residency, Smack Mellon.
The instructor’s work can be viewed at: haleybueschlen.com.
Exhibition Making
VSC-2723-A
The Art of Perfume I: A Fragrance
Development Workshop
VSC-2144-A
This course will investigate the artistic language of olfactory
exploration by creating fragrance from perfume oils and natural
oils, as inspired by works of contemporary artists. We will explore
the evocative nature of both art and perfume and, in so doing,
see the power and allure of scent as an artistic medium. The connection between fragrance to contemporary art, and the influence
of this relationship to art and culture will be addressed. Inspired
by contemporary music, fine arts, performance and film works,
students will be encouraged to express the works viewed via the
toll-free tel. 877.242.7200 :: 147
VSC-2604-A
Fund Grant.
Guy Bärtschi.
medium of fragrance, through the formulation of scents. Additionally,
each student will create a bottle design, packaging, advertising
copy and social media forum for his or her final project, and will
present a finished fragrance.
ALEXIS KARL, owner, Scent by Alexis; co-owner, Cherry Bomb
Killer Perfume; multimedia artist. One-person exhibitions
include: Envoy Gallery, Aqualis Gallery, Warehouse 623.
Performances at: Solomon R. Guggenheim Museum, Whitney
Museum of American Art. Clients include: Urban Outfitters, Henri
Bendel, Fred Segal, Indie Scent. Publications include: Elle, Seventeen,
Time Out New York, Lucky, Women’s Wear Daily, Allure.
Boxography: Photography with the Camera Obscura
VSC-2434-A
Sat., Oct. 1–Oct. 22
Hours: 10:00 am–4:00 pm
In this workshop students will experience the camera obscura
(otherwise known as “the Box”) as the visionary beginning of
human understanding of sight. This is not simply a “pinhole” class.
In hands-on sessions students will learn to view, draw and capture
images with the Box using both analog and digital processes. Each
student will build a camera obscura, experiment with different
types of elements, mirrors and lens, and shoot on-location to
capture unique images of New York City. We will work with
scanning and Adobe Photoshop to enhance the captured images.
We will use our Box to explore the works of Caravaggio, Vermeer,
and others to develop a deeper understanding of how the Box
employs light and furthers our understanding of the physiology
of sight.
PAUL D’INNOCENZO, photographer, painter. Clients include:
Random House, Bantam, Doubleday, Grove Atlantic, BMG, Arista,
Blue Note Records, RCA, Atlantic Records. Publications include:
Cosmopolitan, Vogue, GQ, Time, Newsweek, Jazziz.
The On-Ramp: Developing the Complete
Artist Portfolio
VSC-2749-A
Sat., Sept. 24, Oct. 22, Nov. 19, Dec. 17
Hours: 10:00 am–4:00 pm
You make art, you’ve gone to art school, you may even have a
burgeoning understanding of your own artistic practice. How do
you join the cultural world and represent yourself accordingly?
If you jumped into the ring now, what would the audience see?
This course is designed to help artists navigating this “on-ramp”
into cultural relevancy through the discursive and aesthetic
understanding of their work in the form of the portfolio. We will
meet monthly during the semester, allowing students the time to
complete new work between each of these intense, critique-like
sessions. Starting with an examination of previously completed
artworks, students will practice writing about their work while
maintaining a web-log between monthly critique sessions. These
logs will allow students to record their progress while getting used
to the requirements of photographing work. The in-class critiques
will provide a discursive space for artists to analyze their work
objectively and practice situating it within a cultural context.
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We will discuss troubleshooting technical problems (i.e., making
paintings into slides), situating the artist’s work (influences versus
derivation), and balancing depth and breadth in the portfolio.
Each meeting will have assigned, personalized goals to aid in
clarifying each artist’s vision for a professional entry into the
cultural sphere. Finally, the course will benefit students who are
applying to various institutions and graduate programs, as well
as for grants, residencies and awards.
NOTE: Please bring 10 to 15 samples that best represent your
GRAYSON COX, visual artist. BFA, Indiana University; MFA,
Columbia University. One-person exhibitions include: Klemens
Gasser & Tanja Grunert, Inc.; Engineer’s Office Gallery; Trinity
Park, Lower Manhattan Cultural Council; Brooklyn Bridge Park;
This Friday Next Friday Gallery. Group exhibitions include: New
Museum of Contemporary Art; SculptureCenter; Museum of
Longing and Failure, Bergen, Norway; Planthouse; The Curator
Gallery; Kunstraum Kreuzberg/Bethanien, Berlin; Columbus
Museum of Art, OH; Queens Museum of Art; P339 Gallery;
Counterpath Gallery, Denver. Publications include: The New York
Times, Hyperallergic, Artnet, Time Out New York, Art in America,
Forbes, New York magazine, Scrapped, Artforum. Awards include:
Robert Rauschenberg Foundation; New York Foundation for the
Arts; Daisy Soros Prize for Fine Arts, American Austrian Foundation;
National Careers Award, National Society of Arts and Letters;
Neiman Fellow, Columbia University. Artist residencies include:
Vermont Studio Center; Lower Manhattan Cultural Council;
Centre for Contemporary Art, Ujazdowski Castle. The instructor’s
work can be viewed at: graysoncox.com.
Romanesque, Gothic)
FIC-1127-A
Sun., Dec. 4
NEW
1 session; $120
at a fast pace.
Beauties and Beasts
FIC-2113-A
NEW
Hours: 10:00 am–6:00 pm
2 sessions; 1 CEU
READY TO REGISTER?
Details on page 4
toll-free tel. 877.242.7200 :: 149
FIC-1126-A
Sun., Sept. 25
NEW
1 session; $120
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credit courses
CREDIT COURSES
ANIMATION
The School of Visual Arts offers courses for undergraduate credit
to continuing education students. Courses are taught by a dedicated
faculty who are leading professionals in their fields; they are as much a
part of the New York art world as SVA itself. In fact, the SVA faculty
provides the key link between the city’s cultural and professional
world and its students.
Look through the credit course section. Somewhere in here you
will find just the right courses to stimulate your mind, excite your
imagination and fuel your passion. If you have any questions about
SVA’s credit offerings, give us a call.
Updated course information can be viewed using MyServices
Student, which can be accessed through MySVA (my.sva.edu).
ADVERTISING
Build a Great Portfolio, Get a Great Job,
Win Lots of Awards, Have a Nice Life
ADD-2030-CE
12 sessions; 3 studio credits; $3,660
How do you get that great first job that opens the door to a great
career? It almost entirely depends on the quality of your portfolio.
That’s what this course is about. We’ll teach you how to generate
and complete first-rate campaigns, ads and innovative alternative
media. In the process, you’ll learn a lot about concept and art
direction—tools you’ll need to take your book from scraps of
paper on a wall to finished ads. To find out more about this course
please visit: jervispels.tumblr.com.
PAUL JERVIS, creative director, art director. BS, University of
Maryland. Professional experience includes: Partner, creative
director, Young & Rubicam; group creative director, Backer
Spielvogel Bates. Accounts include: Citibank, United Airlines,
Philips Magnavox, Showtime, Xerox, General Foods, Partnership
for a Drug-Free America, Cunard. Awards include: Hall of Fame,
CLIO; Art Directors Club; The One Show; ANDY; ADDY;
Graphis; Communication Arts. The instructor’s work can be viewed
at: jerviscreative.com.
RICHARD PELS, writer, creative director. MFA, University of
Oregon. Professional experience includes: Group creative director,
senior vice president, Saatchi & Saatchi, BBDO; group creative
director, executive vice president, Scali, McCabe, Sloves. Campaigns
include: MCI, United States Air Force, Kleenex, Hallmark.
Awards include: Gold pencils, The One Show; Art Directors Club;
CLIO; ANDY; Cannes Lion. The instructor’s work can be viewed
at: richardpels.com.
AND-3276-CE
Hours: 10:00 am–3:00 pm
Designed as a working studio, this course will take students through
all stages of the animation process to create personal animated
projects. Using Wacom tablets and scanned drawings, we will begin
with animation drawing basics such as character development,
squash-and-stretch and follow-through. Working with Adobe After
Effects and Flash, we will begin with exercises in panning a background with a walk cycle, as well as creating abstract shapes. The
remainder of the course will be spent on layout design, animation,
scanning and color styling, audio tracks and digital composition for
postproduction. Students will work on finished personal films and
After Effects exercises.
PREREQUISITE: A basic drawing course and familiarity with the
Macintosh computer.
NOTE: Please bring a USB drive to the first session. This course
is open to animation students and those from other disciplines
who have experience working in a digital environment. Lab time
is included in the instructional hours; additional lab time is
not available.
THOMAS BAYNE, animator. BFA, School of Visual Arts. Film and
television projects include: The Venture Bros., SuperNormal, No
Reservations, The Bleeding House, Love and Hip Hop. Theater projects
include: Hit Lit, The Pizza Underground. Commercial spots include:
Star Wars, The Muppets, Lucky Charms. The instructor’s work can
be viewed at: tombayne.com.
Stop-Motion Animation
AND-3020-CE
Hours: 6:00 pm–10:00 pm
Stop-motion animation is an art form as well as a viable career.
In a workshop setting, students learn to make easy-to-build foam
rubber animation models and sets, using established industry techniques, and animate them using state-of-the-art digital animation
equipment. Students are encouraged to make films of their own
designs with a focus on creating a piece for a “demo reel”—the
single most valuable tool in finding a job as a stop-motion animator.
Lectures revealing the day-to-day, inner workings of the stop-motion
business from an industry professional will be included.
AURELIO VOLTAIRE HERNANDEZ, director, stop-motion
specialist. Creator, Chi-Chian, the first stop-motion/Flash
series on the Internet. Clients include: MTV, Epic Records,
Palladium, Budweiser, Dentsu Japan, Parker Bros., Nickelodeon.
Awards include: Gold Award, Telly; Gold Award, Broadcast Design;
International Film and Television; Flash Forward Film Festival.
The instructor’s work can be viewed at: voltaire.net.
toll-free tel. 877.242.7200 :: 151
CREDIT COURSES
The Animation Studio: Putting It All Together
AND VISUAL EFFECTS
Composing the Page:
Drawing for the Graphic Designer
DSD-2060-CE
Creating dynamic design solutions for editorial assignments is the
goal of this course. Using shape, pattern, line and mass, students
will learn how to create tension in their drawings, from close-up
to panoramic views. With the classroom as background, students
will draw one another and incorporate design elements for a
unified composition. The combining of various design elements
will be emphasized in order to create balanced compositions for
page layout: multi-column, vertical, horizontal, double-page
spreads. Some design exercises will be based on prominent
graphic design styles of the early 20th century, such as Art Deco,
Suprematism, and De Stijl, as well as Dada artists and the geometric
designs of the Bauhaus. How to work with a confined space and
effects of cropping an image will be addressed, and attention will
be given to balancing image with text, and typographic choices.
Throughout the course, we will work toward gaining confidence
to achieve creative solutions that communicate. Students may
work in their medium of choice, in black-and-white and/or color.
Typography: Basic
Visual Branding
DSD-2050-CE
12 sessions; 2 credits; $2,440
This course will help students to master the ability to execute
typographic design assignments from conception through completion.
A strong emphasis will be placed on the use of typography and its
relationship to illustration and photography. “Real-life” assignments
will be given, such as logos/stationery, book jackets, posters, CD
packaging, brochures and editorial. All aspects of the design
assignment will be addressed, from concept through presentation.
The work completed in this course makes it a portfolio-builder.
NOTE: Assignments vary each semester. It is recommended that
students have access to a Macintosh computer and a working
knowledge of Adobe Illustrator, Photoshop and InDesign.
ADAM GREISS, vice president, global creative director/head,
Morgan Stanley Creative Services. BFA, School of Visual Arts.
Clients have included: BMG/RCA Records, NBC, Bowne, Equitable
Real Estate, CBS, Merrill Lynch, ASCAP, Cushman & Wakefield,
AT&T. Publications include: Adweek, Typography 20, The Graphic
Design Portfolio. Illustrator: You Think You’ve Got It Bad. Collections
include: Library of Congress, Museum of Modern Art. Awards and
honors include: “50 People to Watch in 2000,” Graphic Design:
USA; Type Directors Club; Print; Society of Publication Designers;
Graphis; American Corporate Identity; American Design Awards;
Creativity; AIGA; chairman, International Type Directors Club
design competition.
DSD-3533-CE
This course offers an opportunity to discover the creative power
of visual branding through fresh ideas and originality. It will benefit
students from any creative-based discipline with a passion for
branding and design, but will be particularly relevant for graphic
designers and advertising creatives. Recharge your batteries through
a range of inspiring creative processes and design methods for
visual research and information gathering; learn fresh techniques
for brainstorming, concept generation and evaluation, and find
new angles on design development and implementation. Go a step
further and become confident in presenting and discussing your
work with a non-designer client to ensure the best solution. To find
out more about this course please visit: visualbrandingcourse.com.
SMD-1031-CE
Hours: 6:00 pm–10:00 pm
The computer has become an essential creative tool in illustration,
graphic design, photography, multimedia, animation and fine art.
In this course, students will learn how to use Adobe Photoshop
and Illustrator to create art for print and the web. A range of
topics will be covered, including basic computer functions, scanning
and design techniques. We will also discuss the similarities and differences of digital and traditional image-making. We will explore
how the computer is used in professional studios, and how you
can use it in your creative and professional pursuits. Students will
participate in class critiques and workshop time.
DESIGN
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Design Portfolio
FINE ARTS
DSD-4010-CE
If you are stuck in a job that does not challenge you or find yourself
in need of re-charging your creative batteries or your portfolio, come
join this course. In an intensive critique/workshop setting, you
will be challenged to re-awaken your creative energy and channel
it into the development of head-turning work. Get yourself to the
next level, explore new territory, push your limits, surpass style,
invent, re-invent, find and advance your own voice and create a
portfolio that you’re proud to show and that will get you hired to
do the work you love to do. To find out more about this course
please visit: myportfoliocourse.com.
NOTE: Please bring your portfolio to the first session. This course
will be held at Magical Monkey, 630 Ninth Avenue, Suite 1102A
(between 44th and 45th streets).
Painting
Painting
READY TO REGISTER?
Details on page 4
FID-1226-CE
This course is designed for beginners and experienced painters
alike. Demonstrations for both acrylic and oil paint will be included,
as well as color theory, mixing color, light and shadow, glazing,
priming, composition and content. Through guided experimentation
and exploration with color, you will develop techniques and gain
the skills to realize your artistic vision. Group critiques and one-on-one
instruction will help inform and assist your process. From canvas
preparation through to the completion of the painting—working
from models, still life, photographs or imagination—the instruction
will focus on individual growth in a supportive environment.
NOTE: Please bring dark charcoal or 6B pencils and a newsprint
pad (18x24") to the first session.
MAURA SHEEHAN, fine artist ; founder, director, Manhattan
Art Program. BFA, San Francisco Art Institute. One-person exhibitions include: Helsinki Museum, Finland; Simon Watson Gallery;
Lausanne Biennale; Museo de Arte Contemporaneo, Seville; Art
Gallery of Toronto, Canada; Old Yacht Club, Cork, Ireland; Row
House, Houston; Cristinerose Gallery; Helen M.Z. Cevern Gallery;
Art at the Anchorage; London Metropolitan University Gallery,
Whitechapel; Nave Museum, Victoria, TX. Group exhibitions
include: Museo Nacional Centro de Arte, Reina Sofia, Madrid;
Printed Matter; Museum of Contemporary Art, Los Angeles; Von
der Heydt-Museum, Wuppertal, Germany; Orensanz Foundation;
toll-free tel. 877.242.7200 :: 153
CREDIT COURSES
FID-1223-CE
Hours: 10:00 am–2:00 pm
Designed for the beginning student, this studio course will introduce
the fundamentals of color, space, composition and technique.
Oil paint will be the primary medium; other media will be explored,
including collage. Students will paint from observation, memory
and imagination. Contemporary concepts will be emphasized. There
will be individual and group critiques.
NOTE: Please bring a rough newsprint pad (18x24"), charcoal
pencils and an eraser to the first session.
MELISSA MEYER, fine artist. BS, MA, New York University.
One-person exhibitions include: Lennon, Weinberg Inc.; Elizabeth
Harris Gallery; Holly Solomon Gallery; Miller/Block Fine Art,
Boston; Rebecca Ibel Gallery, Columbus, OH. Group exhibitions
include: Katonah Museum of Art, NY; National Gallery of Art,
Washington, DC; Aldrich Contemporary Art Museum, Ridgefield,
CT; Graham Modern Gallery. Collections include: Museum of
Modern Art, The Metropolitan Museum of Art, Jewish Museum,
Solomon R. Guggenheim Museum. Publications include: Art in
America, Wall Street Journal, ARTnews, Brooklyn Rail, The New York
Times, Artforum, Artcritical. Awards and honors include: New York
Foundation for the Arts; National Endowment for the Arts; Rome
Prize Fellowship, American Academy in Rome. The instructor’s
work can be viewed at: melissameyerstudio.com.
Galerie Berlin Am Meer; Green Dog Arts, Belfast; Pierogi Gallery;
ARTifariti, West Sahara, Africa. Publications include: Time Out
New York, Art in America, ARTnews, The New York Times, Flash Art,
Artforum, Irish Times. Awards and honors include: CAPS, National
Endowment for the Arts, New York State Council on the Arts,
New York Foundation for the Arts, Pollock-Krasner Foundation.
The instructor’s work can be viewed at: maurasheehan.net.
FID-2221-CE
Great realist painters do far more than faithfully copy what they
see. Creating the illusion of reality requires the ability to understand and interpret your subject matter. This course, taught by an
award winning portrait painter, will present, to artists of all levels,
a uniquely simple and logical approach to working in oil, and will
allow you to rigorously engage with the principles of figure and
portrait painting in the classical tradition. You will learn the timehonored techniques and skills necessary to create a believable
three-dimensional reality, regardless of how loose or tight you
choose to paint. Working from a live model, you will learn to
capture a likeness, handle paint, emphasize the effects of light
and atmosphere, model form, mix stunningly lifelike flesh tones
and, most importantly, you will learn the underlying strategic
thinking behind the creation of the world’s greatest masterpieces.
Every step from preparing your canvas to applying the final highlight will be thoroughly demonstrated and explained. Each student
will also receive numerous one-on-one critiques and personalized
instruction. After taking this class, you will be able to apply what
you’ve learned to any subject matter in any artistic medium,
including digital.
NOTE: A Sunday afternoon field trip to The Metropolitan
Museum of Art is included. Please bring a notebook and pen to
the first session. A complete supply list will be distributed at the
first session.
MARVIN MATTELSON, portrait artist. BFA, University of the Arts.
Clients include: New York Archdiocese, ITT Corporation, CBS,
MBNA, MetLife, Time Warner, DreamWorks, IBM, MTV, FedEx,
Disney, Newsweek, Warner Publishing, Putnam, A&E, ABC, Geffen
Films, Nynex, National Geographic, Scientific American, United States
Postal Service, Angel Records, Cold Spring Harbor Laboratory,
Redbook, Psychology Today, New York magazine, Grey & Grey.
Exhibitions include: Richard C. von Hess Gallery, University of the
Arts, Philadelphia; American Society of Portrait Artists; Society of
Illustrators; Connecticut Society of Portrait Artists; Long Island
Professional Artists’ Showcase; New York Society of Portrait Artists.
Publications include: Communication Arts, Idea, Print, Folio, Graphics,
Step-by-Step Graphis. Awards and honors include: First Place, Best
Portfolio, Portrait Society of America; American Society of Portrait
Artists; Society of Illustrators. The instructor’s work can be viewed
at: fineartportrait.com.
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FID-2221-CE1
Hours: 10:00 am–4:00 pm
See FID-2221-CE for course description and instructor.
Advanced Painting
FID-3211-CE
Hours: 10:00 am–4:00 pm
In this all-day studio course, students can explore ideas from their
personal artistic vision and bring them to completion. The instruction will focus on individual growth in a supportive class environment.
This course has been developed to help students think clearly
about technique and skills. Contemporary as well as historical
issues will be examined to assist students in establishing a historical
sense of themselves as artists.
NOTE: Please come prepared to paint and bring examples of your
IRA RICHER, fine artist. BFA, The Cooper Union; MFA, Yale University.
One-person exhibitions include: Foster Goldstrom Gallery, American
Fine Arts, Annina Nosei Gallery, Steven Kasher Gallery. Group
exhibitions include: Los Angeles Art Fair, Robert Miller Gallery,
Basel Arts Fair, Houghton Gallery, Frankfurt Art Fair. Collections
include: Patrick Lannon Museum; Vincent van Gogh Museum,
Arles. Publications include: Bomb, Village Voice, Artforum.
Sculpture
FID-1430-CE
Designed for students at all levels who wish to explore the world
of sculpture, this course will begin with basic carving techniques
using blue foam covered by an aqua resin. Demonstrations of
various techniques used to produce 3D works will be included,
as well as slide presentations of artworks from many disciplines.
Students will be encouraged to critically examine how emerging
technologies alter the landscape of making art.
NOTE: The studio fee includes safety equipment, hand tools,
abrasives, compressed air, lubricants and access to the plaster
workshop outside of class time, based on facility availability. All
PHOTOGRAPHY
Studio/Advertising Photography
PHD-2408-CE
Hours: 10:30 am–3:00 pm
Are you looking to find an exciting and interesting photography
career but don’t know where to start? This course will cover skills
that can help you become both knowledgeable and successful
in the field of photography. Instruction will include: correct lens
usage, various lighting styles and appropriate equipment use.
Advertising photography will be emphasized, which will provide
students with important experience in both studio and location
environments. Using a digital SLR 35mm camera, students will use
objects and live models to create fashion, product and still-life ads.
PREREQUISITES: A working knowledge of Adobe Photoshop and
a basic photography course, or equivalent.
NOTE: Please bring a digital SLR 35mm camera to the first session.
Lighting equipment, meters and seamless paper backgrounds will
be provided during course hours. Students must have their own
digital SLR camera and access to a computer with Adobe Photoshop.
Students must supply their own props and backgrounds other
than seamless.
MARIO CALAFATELLO, photographer. Queens College; New York
University. Clients include: IBM, Revlon, Air India, Nabisco, Union
Carbide, Hathaway, AT&T, Johnson & Johnson, R.J. Reynolds,
Panasonic, Nikon, MasterCard, Playtex, Cyro Industries, Otis
Elevators, Xerox, Inside Sports, Barr Laboratories, Women’s Wear
Daily, Cotton Incorporated, Parade. Awards include: Art Directors
Club, ANDY.
Digital Photography II
PHD-2042-CE
Hours: 6:00 pm–10:00 pm
This course is for intermediate photographers who have some
experience using a digital SLR and Adobe Photoshop. Classes will
be used for group critique, supervised computer lab sessions,
demonstration of advanced Photoshop techniques and looking
at the work of photographic masters. Digital Photography II will
emphasize the development of a personal photographic vision
and style. Students will be encouraged to initiate and sustain
a focused project over an extended period of time.
PREREQUISITE: PHC-1042, Digital Photography I, or equivalent.
NOTE: Please bring a digital SLR camera to the first session.
MAUREEN DRENNAN, photographer. BA, SUNY New Paltz;
MFA, School of Visual Arts. One-person exhibition: Centotto
Gallery, Brooklyn, Wild Project. Group exhibitions include:
National Portrait Gallery, Washington, DC; Newspace Center
for Photography, Portland, OR; RISD Museum, Providence, RI;
toll-free tel. 877.242.7200 :: 155
CREDIT COURSES
PHD-1042-CE
Hours: 6:00 pm–10:00 pm
operating system.
not available.
Guest Spot Gallery, Baltimore; Barclays Center; Centotto Gallery;
Philadelphia Photo Arts Center; Chelsea Art Museum; Australia
Centre for Photography, Paddington; Rayko Photo Center, San
Francisco; Photographic Resource Center, Boston. Publications
include: The New Yorker, California Sunday Magazine, The New York
Times, American Photo, Creative Time Reports, New York Photo Review.
Artist residencies include: Foundation Obras, Holland; Newspace
Center for Photography; Salem Art Works. The instructor’s work
can be viewed at: maureendrennan.net.
VSD-2237-CE
for painting.
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THE GRADUATE PROGRAMS
SCHOOL OF VISUAL ARTS
2016/2017
•MAT Art Education
•MFA Art Practice
•MPS Art Therapy
•MFA Art Writing
•MPS Branding
•MFA Computer Art
•MA Critical Theory and the Arts
•MA Curatorial Practice
•MFA Design
•MFA Design for Social Innovation
•MA Design Research, Writing and Criticism
•MPS Digital Photography
•MPS Directing
•MPS Fashion Photography
•MFA Fine Arts
•MFA Illustration as Visual Essay
•MFA Interaction Design
•MFA Photography, Video and Related Media
•MFA Products of Design
•MFA Social Documentary Film
•MFA Visual Narrative
toll-free tel. 877.242.7200 :: 157
SVA
Destinations
Summer 2017
Travel, Revive and Replenish
Your Creative Energy.
For more than 30 years, the School of Visual Arts
has created programs that empower students,
working artists and other professionals to grow and
develop. Different cultures, beautiful environments
and living art history will inspire your personal
work, stimulate your imagination and creativity,
invigorate your career, and affirm the excitement
for making art.
•Art History in Southern France
•Alaska Wildnerness Adventure/Travel
Zine Design
•Digital Illustration in Berlin
•Digital Photography in Cuba
•Masters Workshop: Design History,
Theory & Practice in Rome
•Painting in Barcelona
•Studio Intensive in Oaxaca, Mexico
•Writing in the Land of Enchantment, Taos, NM
For further information and new programs
please visit: destinations.sva.edu
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toll-free tel. 877.242.7200 :: 159
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Residency Programs
and Intensives
Summer 2017
SVA’s Summer Residencies in New York City offer artists, designers and creative thinkers time, space
and a supportive community in which to develop ideas and focus on their artistic direction.
In addition to our time-honored studio residencies, a variety of innovative professional immersion
programs provide opportunities for artists to explore new areas of social and technological practice
and engage critically within their field.
A unique combination of creative and professional resources provides a rich environment for growth
and opportunity in the current, vibrant art scene. Affordable housing is available, as are opportunities
to display work.
Residencies and Intensives include:
• Art Writing Summer Intensive
• Impact! Strategies for Creative Intervention
• The Business of Type
• Lens and Screen Arts–The Still and Moving Image
• City as Site: Social Interventions
• Painting and Mixed Media
and Public Performance
• Photography
• Design Writing and Research Summer Intensive
• Sculpture, Installation and New Media Art
• From the Laboratory to the Studio: Interdisciplinary
• Typography as Language: Theory and Practice
Practices in Bio Art
• Illustration and Visual Storytelling: Art and Industry
• Un-Disciplined: Residency in Contemporary Practices
• Visual Literacy in the Realm of the Circuit
• Impact! Design Strategies for Community
Engagement
For further information please visit: sva.edu/residency.
#TimeSpaceCommunity
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general information
FAMILY EDUCATIONAL RIGHTS AND PRIVACY ACT (FERPA)
Known by its acronym, FERPA, this important legislation guarantees
students certain rights regarding their education records (records
that include, but are not limited to, grades, financial records, and
other personal information). FERPA applies to all students attending
SVA, regardless of age.
STUDENT FERPA RIGHTS
n
n
n
n
The right to inspect and review your educational records. You may
submit a written request to the Registrar that specifies the record(s)
you wish to inspect. SVA will make arrangements for access
and notify you of the time and place where the record(s) may
be inspected.
The right to request the amendment of your education records
that you believe to be inaccurate, misleading, or otherwise in
violation of your privacy rights under FERPA. To do this, simply
write the SVA office responsible for the record, make clear which
part you want changed, and specify what you feel is inaccurate or
misleading. If SVA decides not to amend the record, the College
will notify you in writing of the decision and advise you of your
right to a hearing regarding the request for amendment.
The right to agree to disclosures of personally identifiable information (PII) contained in educational records (information that would
make identity easily traceable—e.g., your Social Security number),
except to the extent that FERPA authorizes disclosure without consent. An example of disclosure without consent would be the
opening of your records to school officials with legitimate educational interests. A school official is a person employed by SVA in
an administrative, supervisory, academic, research, or support staff
position (including law enforcement unit personnel and health
staff); a person serving on the board of trustees; or a student
serving on an official committee, such as a disciplinary or grievance
committee. A school official also may include a volunteer or
contractor outside of SVA who performs an institutional service
of function for which the school would otherwise use its own
employees and who is under the direct control of the school with
respect to the use and maintenance of PII from education records,
such as an attorney, auditor, or collection agent or a student
volunteering to assist another school official in performing his or
her tasks. A school official has a legitimate educational interest if
the official needs to review an education record in order to fulfill
his or her professional responsibilities for SVA.
The right to file a complaint with the U.S. Department of
Education concerning alleged failures of SVA to comply with the
requirements of FERPA. The name and address of the Office that
administers FERPA is:
Family Policy Compliance Office
U.S. Department of Education
400 Maryland Avenue SW
Washington, DC 20202
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DIRECTORY INFORMATION
SVA may disclose Directory Information to third-party organizations
without a student’s consent. Such outside organizations may include,
but are not limited to, federal and state agencies offering jobs and
educational benefits, potential employers, insurance agencies and
financial institutions.
“Directory Information” is defined by SVA as: student’s name,
address, telephone number, email address, major field of study,
enrollment status (undergraduate or graduate, full- or part-time),
dates of attendance, and degree(s) conferred.
If students wish to restrict the disclosure of directory information,
they should complete a FERPA Disclosure Form, which is available
at the Registrar’s Office and online at sva.edu by hovering over the
“Student Life” menu, then selecting “Registrar” from the list.
The College honors requests to withhold directory information
but cannot assume responsibility for contacting a student for subsequent permission to release information. Regardless of the effect,
the College assumes no liability for honoring instructions that such
information be withheld.
DISCLOSURE POLICY
n
n
n
To the general public, the final results of a disciplinary proceeding
if the school determines the student is an alleged perpetrator of
a crime of violence or non-forcible sex offense and the student has
committed a violation of the school’s rules or policies with respect
to the allegation made against him or her.
To parents(s) or guardian(s) of a student regarding the student’s
violation of any Federal, State, or local law, or of any rule or policy
of the school, governing the use or possession of alcohol or a controlled substance if the school determines the student committed
a disciplinary violation and the student is under the age of 21.
To Veterans Administration officials, the Department of Homeland
Security, the Federal Bureau of Investigation, military recruiters, or
the Internal Revenue Service, under certain conditions.
STUDENT CONSENT TO ALLOW OR PREVENT DISCLOSURE
The FERPA Disclosure Form allows students to instruct SVA to do
the following:
n Allow or prevent disclosure of Directory Information to third
parties, except to the extent that FERPA authorizes disclosure
without consent.
n Allow or prevent disclosure of education records to parents,
guardians, or other individuals of the student’s choosing.
The FERPA Disclosure Form is available in the Registrar’s Office and
online at sva.edu by hovering over the “Student Life” menu, then
selecting “Registrar” from the list.
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GENERAL INFORMATION
SVA typically will disclose personally identifiable information (PII)—such
as a Social Security number, grades, or other private information—from
a student’s education record only with the written consent of the
student. However, FERPA permits the disclosure of PII from students’
education records, without consent of the student, if the disclosure
meets one or more of the following conditions:
n To other school officials, including teachers, within SVA whom
the school has determined to have legitimate educational interests.
This includes contractors, consultants, volunteers, or other parties
to whom the school has outsourced institutional services or functions.
n To officials of another school where the student seeks or intends
to enroll, or where the student is already enrolled if the disclosure
is for purposes related to the student’s enrollment or transfer.
SVA will make a reasonable attempt to inform the student before
the disclosure, unless the student initiated the request.
n To authorized representatives of the U.S. Comptroller General,
the U.S. Attorney General, the U.S. Secretary of Education, or
State and local educational authorities, such as a State postsecondary authority that is responsible for supervising the university’s
State-supported education programs. Disclosures under this
provision may be made, in connection with an audit or evaluation
of Federal- or State-supported education programs, or for the
enforcement of or compliance with Federal legal requirements
that relate to those programs. These entities may make further
disclosures of PII to outside entities that are designated by them
as their authorized representatives to conduct any audit, evaluation,
or enforcement or compliance activity on their behalf.
n In connection with financial aid for which the student has applied
or which the student has received, if the information is necessary
to determine eligibility for the aid, determine the amount of the
aid, determine the conditions of the aid, or enforce the terms and
conditions of the aid.
n To organizations conducting studies for, or on behalf of, SVA,
in order to: (a) develop, validate, or administer predictive tests;
(b) administer student aid programs; or (c) improve instruction.
n To accrediting organizations to carry out their accrediting functions.
n To the parent(s) or guardian(s) of an eligible student who claimed
the student as a dependent on their most recent income tax
return, provided the parent(s) or guardian(s) provide adequate
documentation of the dependent status, in writing. Disclosure may
not be made without such written documentation.
n To comply with a judicial order or a lawfully issued subpoena.
SVA will make a reasonable attempt to inform the student before
the disclosure, unless ordered not to do so by the subpoena.
n To appropriate parties in a health or safety emergency.
n To a victim of an alleged crime of violence, including a non-forcible
sex offense. The disclosure may only include the final results of
the disciplinary proceeding with respect to that alleged crime or
offense, regardless of the finding.
ATTENDANCE
The individual instructor determines the number of acceptable
absences, if any, and has the final word in these matters.
CLASS CANCELLATIONS
The College reserves the right to cancel or withdraw courses from this
bulletin and to change course curricula and scheduling. The College also
reserves the right to withdraw and substitute instructors. If your course is
canceled for the semester, the Division of Continuing Education will notify
you by telephone or email. We will do our best to help you find another
suitable course. However, if this is not possible, you will receive a 100%
tuition refund for the canceled course and a 100% refund of any additional
lab, equipment or model fees charged for the course.
CLASS LOCATION
All students will be emailed a course schedule. If you have not received
a course schedule before your first week of classes, please contact the
Registrar’s Office, at 212.592.2200, or [email protected], and a staff
member will be happy to help you.
COLLEGE CLOSINGS: UNSCHEDULED
Announcements of SVA’s closings due to inclement weather or other
conditions will be posted to the College’s website at: sva.edu. The
College’s main telephone number, 212.592.2000, will also announce
emergency closings. To receive announcements as they are issued, you
are encouraged to enroll in SVAlert, the College’s electronic notification
system, by visiting my.sva.edu.
CORPORATE TRAINING
DISCOUNTS
DISCOUNTS FOR ALUMNI
Students who meet one of the following requirements are eligible
to receive a 20% tuition discount per continuing education course.
This discount does not apply to any fee associated with the course:
• Attended SVA from 1947-1979 and enrolled for one full semester.
• Attended SVA from 1980-1995 and completed 12 credits.
• All SVA degree and certificate graduates.
For more information about alumni benefits, programs and services
go to: sva.edu/alumni.
Office of Alumni Affairs and Development
Telephone: 212.592.2300
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DISCOUNTS FOR VETERANS
SVA is honored to welcome veterans to our campus. SVA is a Yellow
Ribbon Program participating school. Veterans who register for
continuing education courses will receive a 20% tuition discount per
continuing education course. This discount does not apply to any fee
associated with the course. To be eligible to receive this discount
through the Division of Continuing Education, you must supply one
of the following documents certifying proof of service:
• DD Form 214 (Certificate of Release or Discharge from Active
Duty)
• DD Form 2384 (Notice of Basic Eligibility)
This documentation should be submitted in-person at the
Registrar’s Office, 205 East 23rd Street, New York, NY 10010.
Once you have submitted proof of service to SVA, you do not
need to resubmit this documentation again. The 20% discount
will automatically be applied when registering online, in-person, or
by telephone.
For more information about veterans benefits, programs and
services, contact Gemma Prosper-Brown, veterans counselor,
at: [email protected] or telephone 212.592.2201.
FINANCIAL INFORMATION
Tuition and fees are payable in full at registration. Payment can be made
by check drawn on a U.S. bank, U.S. money order, American Express,
Discover, JCB, MasterCard or Visa. There will be a $40 fee for checks
returned by the bank for insufficient funds. When using a charge card,
please list the necessary information on the registration form. All students
must register before attending classes. Any student who attends classes
without registering (auditing of classes is not permitted) will be charged
a $25 late fee. Financial aid is available only to U.S. citizens and resident
aliens enrolled in a degree program.
CONTINUING EDUCATION LOAN PROGRAM
Continuing Education Loans (CELs) are designed to provide flexible
financing options for part-time, non-degree students, especially
working adults enrolled in continuing education courses and workshops.
For more information please contact the Office of Financial Aid at
212.592.2030 or email [email protected].
GRADING INFORMATION
Once submitted by your instructor, grades can be viewed through
MySVA at my.sva.edu. Under the WebAdvisor menu, click on
“Academic Profile Menu,” then “View Grades.”
CONTINUING EDUCATION UNITS (CEUS)
Students will receive continuing education units (CEUs) upon successful
completion of the continuing education course(s). CEUs are a nationally
recognized standard of measurement for students participating
in nonacademic credit-granting programs. One CEU is defined as
10 hours of participation.
THE GRADING SYSTEM
A+4.00
A
4.00
Excellent
A-3.67
B+3.33
B
3.00 B- 2.67
Above average
C+2.33
C
2.00
C- 1.67
Average
D+1.33
D
1.00
D-
0.67
Lowest passing grade
F
Failing
0.00
I
0.00
Requests for transcripts and/or enrollment verification letters may
be made by completing the Transcript and Enrollment Request form,
available for download at sva.edu/regbook. You may also submit
your request online by logging in to MySVA (my.sva.edu), clicking the
“Academic Profile Menu” under the WebAdvisor menu, then selecting
“Transcript Request” or “Enrollment Verification Request.”
Transcripts and enrollment verifications are free of charge, and
normal processing time is five days from receipt of request
provided there are no holds on your account. Transcripts cannot
be emailed or faxed.
Request forms may be submitted by any one of the following
methods:
• Online at my.sva.edu
• In person at 205 East 23rd Street (b/w 2nd and 3rd avenues)
• By fax at 212.592.2069
• By email at [email protected]
• By mail at School of Visual Arts, Attn: Registrar, 209 East 23rd
Street, New York, NY 10010
Incomplete. Becomes failing if not made up.
Faculty may specify due date for work as long
as it falls within the following parameters:
Fall semester—No later than the last day of
the spring semester.
Spring semester/summer semester—No later
than the last day of the fall semester.
NS— Grade not submitted (administrative)
P
—
Pass (pass/fail courses)
X
0.00
Withdrawal for excessive
absences with failure X+
Withdrawal for excessive absence —
Students may withdraw from courses without academic penalty until
75% of the class sessions have met.
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GENERAL INFORMATION
A quality point system from 0.00 to 4.00 is used for computing
scholastic standing. The following grade points reflect the
plus/minus range:
TRANSCRIPTS AND ENROLLMENT VERIFICATION
INTELLECTUAL PROPERTY RIGHTS OF FACULTY
SVA does not have any ownership or other interest in any “Works”
(including any artwork, writing, research, animation, film, video, design,
software, application or other works that may be protected by copyright) created by an SVA faculty member while employed at SVA,
unless the faculty member agrees otherwise in writing.
INTELLECTUAL PROPERTY RIGHTS OF STUDENTS
SVA does not have any ownership or other interest in any “Works”
(including any artwork, writing, research, animation, film, video, design,
software, application or other works that may be protected by copyright) created by a student while enrolled at SVA, unless the student
agrees otherwise in writing, except that SVA has a limited right to
use the student’s “Works” for educational and accreditation purposes.
INTERNAL COMPLAINT RESOLUTION POLICY
If you are experiencing a problem with a continuing education class,
please speak with your instructor. If the problem goes unresolved,
please address it, in writing, to the Division of Continuing Education.
INTERNATIONAL STUDENTS
International students can take a vocational or recreational course
as long as it is incidental to their main purpose of visiting the U.S.
Please note that SVA is not authorized to issue the Form I-20,
Certificate of Eligibility for the F-1 student visa for the Division of
Continuing Education. Non-matriculated students are not eligible to
apply for the F-1 student visa.
IRS EDUCATION CREDIT
If eligible, the Internal Revenue Service (IRS) allows students to apply
for educational credits. The Hope Credit and Lifetime Learning Credit
are educational credits you may deduct from your federal income
tax. For more information regarding eligibility and instructions, refer
to IRS publication 970, Tax Benefits for Higher Education.
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MYSVA
MySVA is the online portal that keeps students, faculty, alumni and
staff members connected to the SVA campus. It is available 24 hours
a day, 7 days a week, from any computer, tablet or smartphone with
Internet access. All students automatically receive an account. To log
in, go to my.sva.edu and enter your user name and password. Your
username is your @sva.edu email address.
n If you registered online, your password was sent to you in a
separate email.
n If you registered in person or by phone, the password is SVA!
followed by your student ID number.
MySVA offers easy access to a free @sva.edu email account,
powered by Google, along with SVAlert, WebAdvisor and links to registration and schedule information, grades, library resources, secure
bill payment and more. If you have trouble logging in or if you have
any questions about MySVA, please contact [email protected] or
call 212.592.2400 option 1.
OFFICE OF VOCATIONAL REHABILITATION
The School of Visual Arts works with all state and city offices of
vocational rehabilitation. For information, contact the VESID
officer in the Financial Aid Office at: 212.592.2033.
ONLINE COURSES: TECHNICAL REQUIREMENTS
REFUND POLICY REGISTRATION CANCELLATION FOR
NONMATRICULATED STUDENTS
To withdraw from a credit or noncredit Division of Continuing
Education course you must notify the Registrar’s Office, in writing,
of your intention to withdraw. You may do so by emailing your
withdrawal to [email protected]; by sending written notification
via mail or fax; or by completing a withdrawal form, in person, at the
Registrar’s Office. The office is located at 205 East 23rd Street. Failure
to complete a course does not constitute official withdrawal, nor
does notification to the instructor, nor does lack of attendance, nor
does dissatisfaction with a course. Refunds are computed from the
day on which written notice of withdrawal is received. The postmark
will be considered the date of withdrawal for refunds requested by
mail. All refunds for payment made by American Express, Discover,
JCB, MasterCard or Visa, will be credited to the appropriate credit
card account. Payment made by check or money order will be
refunded by check, payable to the registrant. Processing of refunds
takes approximately four weeks.
REFUNDS FOR 6 TO 8 WEEK ONLINE COURSES
REFUNDS FOR 10 OR MORE SESSIONS
NONREFUNDABLE EXPENSES
If written notice of withdrawal is received by the Registrar’s Office:
n Before the first class session, the student will receive a 100%
tuition refund, including any lab, equipment or model fee.
n Before the second class session, the student will receive a 90%
n Before the third class session, the student will receive an 80%
From time to time, the School of Visual Arts may find it necessary
to cancel a course or workshop, or change schedules or faculty for
a course or workshop. If this occurs, the School of Visual Arts will
attempt to give notice to those students who are registered for the
affected course or workshop, to the email address or telephone
number provided by the student in her or his registration materials.
It is the student’s responsibility to keep the College advised of a current mailing address, email address and telephone number at which
he or she may be contacted. If a course or workshop is canceled, or
the schedule or faculty for a course or workshop are changed and as
a result of the change the student no longer wishes to take the
course or workshop, the School of Visual Arts will reimburse to
the student the tuition and course fees for that course or workshop
within the guidelines published in this bulletin, but will not be responsible
or liable for any other expenses that the student may have incurred,
including but not limited to transportation and housing costs and the
purchase of materials and supplies.
CLASS SESSION.
REFUNDS FOR 5 TO 9 SESSION COURSES
If written notice of withdrawal is received by the Registrar’s Office:
n Before the first class session, the student will receive a 100%
n Before the second class session, the student will receive an 80%
THERE WILL BE NO REFUNDS AFTER THE START OF THE SECOND
THERE WILL BE NO REFUNDS AFTER THE MONDAY OF THE SECOND WEEK.
REFUNDS FOR 9 TO 12 WEEK ONLINE COURSES
If written notice of withdrawal is received by the Registrar's Office:
n Before Monday of the first week, the student will receive a 100%
tuition refund.
n Before Monday of the second week, the student will receive a 90%
tuition refund.
n Before Monday of the third week, the student will receive an 80%
tuition refund.
THERE WILL BE NO REFUNDS AFTER THE MONDAY OF THE THIRD WEEK.
CLASS SESSION.
REFUNDS FOR INTENSIVE AND WEEKLONG COURSES
If written notice of withdrawal is received by the Registrar’s Office
prior to the first class session, the student will receive a 100% tuition
refund, including any lab, equipment or model fee.
THERE WILL BE NO REFUNDS AFTER THE START OF THE FIRST
CLASS SESSION.
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GENERAL INFORMATION
THERE WILL BE NO REFUNDS AFTER THE START OF THE THIRD
If written notice of withdrawal is received by the Registrar's Office:
n Before Monday of the first week, the student will receive a 100%
tuition refund.
n Before Monday of the second week, the student will receive an 80%
tuition refund.
SPECIAL SERVICES
The School of Visual Arts does not discriminate on the basis of gender,
race, color, creed, disability, age, sexual orientation, marital status,
national origin or other legally protected status, and is committed to
helping all enrolled students achieve their educational objectives.
The mission of the Office of Disability Services (ODS) is to assist in
creating an accessible campus environment, where students with disabilities have equal access to educational programs and the opportunity
to participate in campus life. The Office of Disability Services will:
n Provide and coordinate appropriate academic accommodations
and related services to meet the specific disability-related needs
of students.
n Consult with faculty about reasonable and effective academic
accommodations.
n Advise academic and administrative departments about student
access to programs and facilities.
n Answer questions that prospective students may have about services
for students with disabilities.
The ODS is staffed by a disability services coordinator and a learning
disabilities specialist who work together with students to determine
their eligibility for academic accommodations and to ensure that
these accommodations are implemented. The ODS recommends
accommodations for students with disabilities in compliance with
Section 504 of the Rehabilitation Act of 1973 and the Americans
with Disabilities Act (ADA) of 1990.
The Office of Disability Services is located in the George Washington
building at 23 Lexington Avenue. Individuals with questions or who
are interested in receiving disability services may contact the office
at 212.592.2281 or via email at: [email protected].
STUDENT CODE OF CONDUCT
The School of Visual Arts provides students with an environment
that stimulates and nurtures creative exploration and interaction.
Students are expected to support that environment and the community in which they work and live by actively practicing and living by
the Student Code of Conduct. Each student must practice an ethic
that includes fostering personal and professional integrity and trust,
and being responsible for her or his actions.
Students registering for a Continuing Education course are
expected to follow the School of Visual Arts Student Code of Conduct.
Failure to adhere to these guidelines could result in disciplinary
action. For a copy of the Code of Conduct, please refer the SVA
Handbook: sva.edu/student-life/student-affairs/handbooks.
SVALERT
Get important announcements with SVA’s electronic notification
system. SVAlert is a convenient way to learn about unscheduled
closings, emergency situations, classroom changes, class cancellations
and more. The notification comes directly to your cell phone (text
or voice message), email address or home phone. To register, log on
to MySVA (my.sva.edu), click the SVAlert icon, and confirm your
contact information.
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ADDITIONAL INFORMATION
For a full description of all institutional facilities, including the library
and individual workshops, please consult the undergraduate catalog.
The College is not responsible for loss or breakage of artwork left
in storage on College premises. No one is permitted to audit classes
and visitors are not permitted in the studios or classrooms. All students
accept full responsibility for personal injury and/or personal losses
during class hours and while on College premises.
All students, faculty, administrative staff and alumni may use the
library facilities; however, only matriculated students, current faculty and
administrative staff may borrow books and other circulating materials.
Library hours for the fall and spring semesters are: Monday through
Thursday, 8:30 am to 10:00 pm; Friday, 8:30 am to 7:30 pm; Saturday,
12:00 noon to 5:30 pm; Sunday, 12:00 noon to 8:00 pm.
For the most up-to-date statistical information on student retention
and graduate placement, please refer to the admissions catalog or contact
the Admissions Office.
Students interested in matriculating in one of SVA’s degree programs
should contact the Admissions Office for an application.
Admissions Office
Telephone: 212.592.2100
Fax: 212.592.2116
degree programs
This guide to the Bachelor of Fine Arts degree in design offered
through the Division of Continuing Education provides a description
of the required curriculum. Information on admissions requirements,
transfer credit, tuition, fees and financial aid is available in the School
of Visual Arts Admissions Catalog. The SVA Handbook provides a
description of all administrative services, procedures and regulations
for SVA students. If you have any questions, please refer to these
publications or contact the Office of Admissions, School of Visual
Arts, 209 East 23rd Street, New York, NY 10010-3994; telephone:
212.592.2100; fax: 212.592.2116; email: [email protected].
The Degree
FOUNDATION YEARCREDITS
Drawing6
Painting6
Sculpture3
Introduction to Digital Design
3
Survey of World Art I, II
6
Literature and Writing I, II
6
SOPHOMORE YEARCREDITS
Graphic Design4
Advertising6
Basic Typography4
Computers in the Studio
0
Drawing4
Visual Literacy*3
History of Advertising **
or History of Graphic Design
or History of Typography
3
Humanities electives6
The Program
The BFA Design Department offers a number of required courses
that form the core of the Department’s curriculum, as well as electives from other areas of study. In addition to fulfilling studio degree
requirements, students must also fulfill their art history, humanities
and sciences, and elective requirements.
JUNIOR YEARCREDITS
Intermediate Graphic Design
6
Studio electives12
Art History elective3
Matriculation
After all admission requirements have been met, the Committee on
Admissions will notify applicants of its decision in writing. This letter
will specify any advanced standing, transfer of credit and/or waivers
of requirements.
Students should meet with their departmental advisor prior to registration each semester. The advisor will provide course counseling
and will help arrange a satisfactory schedule of courses so that the
BFA degree requirements may be met in a cohesive way.
Matriculated students must register for a minimum of 6 credits
each semester. Course selection must be approved by the departmental advisor. Students who fail to register for a minimum of
6 credits will automatically lose their matriculated status unless they
have filed an official leave of absence form.
SENIOR YEARCREDITS
Design Portfolio6-12
Studio elective6-12
* NOTE: Visual Literacy is only offered in the fall and spring semesters
on Tues. from 9:00 am to 11:50 am.
** NOTE: Courses are offered through the Undergraduate Division.
In addition to the studio requirements listed, students must confer
with their departmental advisor on art history and humanities and
sciences course requirements.
Financial Aid
Matriculated students may apply for financial aid to help offset costs
while attending the School of Visual Arts. In order to be eligible,
students must make satisfactory academic progress, as outlined in
the Admissions Catalog, in order to continue to receive financial aid
funds. For more information contact the Office of Financial Aid,
209 East 23rd Street, New York, NY, 10010; telephone: 212.592.2030;
fax: 212.592.2029; email: [email protected].
Tuition and Fees
For the 2016-2017 academic year, the per-credit tuition rate is
$1,220. Institutional aid, in the amount of $240 per credit, will be
granted to matriculated students in the Continuing Education Design
degree program. The departmental fee is $500 per semester for the
fall and spring semesters.
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DEGREE PROGRAMS
To qualify for the Bachelor of Fine Arts degree in design, a student
must successfully complete all course work and meet all course
requirements within an eight-year period.
Credit distribution requirements for matriculated students in the
design program are as follows: complete a minimum of 120 credits,
including 72 studio credits, 30 humanities and sciences credits, 12
art history credits, and 6 elective credits from any area. All degree
candidates must pass the Proficiency Examination.
Sample Program
administration
BOARD OF DIRECTORS
Milton Glaser, acting chairman
Janet A. Knox
Michelle Musler
Joseph F. Patterson
Anthony P. Rhodes
David Rhodes
Walter Rivera
Eileen Hedy Schultz
STUDIO AND ACADEMIC DEPARTMENTS
Undergraduate
OFFICE OF THE PRESIDENT
ADVERTISING
Richard Wilde, chair
Carolyn Hinkson-Jenkins, director of operations
Alida Beck LaRocca, academic advisor
Wayde McIntosh, academic advisor
Yolanda Powell, academic advisor
Ingrid Li, systems coordinator
Benita Raphan, project coordinator
Ori Kleiner, motion graphics coordinator
Arlyn Lebron, assistant to the chair
Paula Paylor, receptionist
Ralph Appelbaum, special assistant to the president
Khristal Curtis, administrative assistant
John Dye, director of internal audit and control
Steven Heller, special assistant to the president
Jacqueline “Pif” Hoffner, executive assistant
Alberta Irene Kreh, special consultant to the president
Maureen Larimore, secretary
David Rhodes, president
ANIMATION
Reeves Lehmann, chair
Salvatore Petrosino, director of operations
Heather Freudenthal, assistant to the chair
Mark Minnig, manager, animation
Samantha Lee, assistant manager, animation
Gabriela Ilijeska, systems administrator, animation
OFFICE OF THE CHAIRMAN
Milton Glaser, acting chairman
Carla Tscherny, executive assistant to the acting chairman
OFFICE OF THE EXECUTIVE VICE PRESIDENT
Anthony P. Rhodes, executive vice president
Michelle Mercurio, assistant to the executive
vice president
Aziza Gaines, administrative assistant
ART HISTORY
Tom Huhn, chair
Paloma Crousillat, director of operations
CARTOONING
Thomas Woodruff, chair
Daniel Herwitt, academic advisor
AND VISUAL EFFECTS
John McIntosh, chair
Jimmy Calhoun, director of operations
Mahtab Aslani, academic advisor
Laura Nitz, assistant to the chair/project coordinator
Matthew McKenna, senior systems director
Brian Frey, senior systems administrator
Richard Hagen, senior systems administrator
Darryl Wright, senior systems administrator
Joseph Mulvanerty, systems administrator
Raphael Ribot, systems administrator
Grant Lindahl, front office manager
Damon Dixon, desktop support manager
Alexandra Bequez, day manager
Alexandra Barsky, night manager
Deanna Demaglie, secretary
170 :: sva.edu / ce
FILM
Reeves Lehmann, chair
Salvatore Petrosino, director of operations
Heather Freudenthal, assistant to the chair
Mark Ramos, academic advisor, film
Elvera Vilson, academic advisor, film
Michael DelVecchio, senior production manager
Courtney Smith, film librarian, budget and festival coordinator
Nina Summermatter, reservations coordinator
Luis Negron, repair manager, film
Tien-Li Wu, senior systems support specialist
Steven Landau, systems support specialist
Kamil Dobrowolski, systems administrator Final Cut Pro
Marco Chierichella, production office evening supervisor
Angel Beltre, film repair assistant
Ian Hoban, production office assistant
Christopher Lawless, production office assistant
Brian Rojas, production office assistant
FINE ARTS
Suzanne Anker, chair
Gary Sherman, assistant to the chair
Dora Riomayor, academic advisor
Gloria Houng, administrative assistant
Andres Janacua, director of operations
Gunars Prande, director of operations, printmaking
Tyler Rowland, operations manager
Dominick Rapone, printshop manager
Luis Rodrigo Navarro, systems administrator, sculpture center
Joseph Tekippe, systems administrator, digital lab
Sung Jin Choi, senior technical advisor
Daniel Wapner, manager, sculpture center
Rhys Bambrick, weekend supervisor, sculpture center
Michael Falk, digital lab assistant
HUMANITIES AND SCIENCES
Maryhelen Hendricks, co-chair
Robert Milgrom, co-chair
Helene Rubinstein, associate chair, English as a
Second Language program
Laurie Johenning, assistant to the chair
Neil Friedland, coordinator, writing services
Louis Phillips, editor, Words
Susan Kim, administrative assistant
William Fuentes, lab coordinator, writing resource center
Leslie Haller, office coordinator, writing resource center
ILLUSTRATION
Thomas Woodruff, chair
Curtis Edwards, program coordinator
Gerard Newland, lab manager
INTERIOR DESIGN
Jane Smith, chair
Lucas Thorpe, director of operations
Kathleen Hayes, academic advisor
Eduardo Lytton, senior systems administrator
PHOTOGRAPHY AND VIDEO
Stephen Frailey, chair
Alice Beck-Odette, chair emeritus
Malcolm Lightner, director of operations
Angela Kaniecki, academic advisor
Eliza Moore, academic advisor
Kathryn Humphries, curriculum coordinator
Maria Dubon, coordinator of special programs and projects
Maia Kaufman, studio manager
Rodel Oiga, senior systems administrator
Todd Carroll, systems administrator
Giuseppina “Bina” Altera, senior systems support specialist
Kahleem Poole, systems support specialist
Rachel Hines, assistant studio manager
Nicholas Alciati, technician
Jordan Cruz, technician
Amber Dietz technician
Marlene Moura, technician
Steven Mayer, administrative assistant
Tom Huhn, chair
Paloma Crousillat, director of operations
Paul D’Innocenzo, academic advisor
Justin Elm, systems administrator
toll-free tel. 877.242.7200 :: 171
ADMINISTRATION
DESIGN
Richard Wilde, chair
Kevin O’Callaghan, chair, 3D design
Adria Ingegneri, assistant to the chair, 3D design
Ingrid Li, systems coordinator
Benita Raphan, projects coordinator
Ori Kleiner, motion graphics coordinator
Kaori Sakai, studio manager, 3D design
Graduate
ART EDUCATION
Rose Viggiano, chair
Jaime Chan, assistant to the chair
Barbara Salander, thesis director
Michael Filan, student teaching supervisor
Anna Roman, secretary
ART PRACTICE
David Ross, chair
Jacquelyn Strycker, director of operations
Allison Simpson, assistant to the chair
Daniel Fairbanks, assistant
ART THERAPY
Deborah Farber, chair
Aaron Cockle, director of operations
Valerie Sereno, special programs and projects coordinator
Elizabeth Dellicarpini, internship coordinator
Christine Kelly, assistant to the chair
ART WRITING
David Levi Strauss, chair
Annette Wehrhahn, assistant to the chair
BRANDING
Debbie Millman, chair
Mark Dudlik, director of operations
Emily Weiland, studio manager
J’aime Cohen, program coordinator
COMPUTER ART
Bruce Wands, chair
Hsiang Chin Moe, director of operations
Angelica Vergel, assistant to the chair
Milos Paripovic, senior systems administrator
Darren Santa Maria, systems administrator
Milan DelVecchio, project coordinator
India Lombardi-Bello, administrative assistant
CRITICAL THEORY AND THE ARTS
Robert Hullot-Kentor, chair
Meghan Roe-Mesenbourg, assistant to the chair
CURATORIAL PRACTICE
Steven Henry Madoff, chair
Michael Severance, director of operations
Jovana Stokic, director of curatorial research
Deirdre Nolan, administrative assistant
DESIGN
Steven Heller, co-chair
Lita Talarico, co-chair
Esther Ro-Schofield, director of operations
Ronald Callahan, senior systems administrator
172 :: sva.edu / ce
DESIGN FOR SOCIAL INNOVATION
Cheryl Heller, chair
Aubrey Hays, director of operations
Chessa Cahill, assistant to the chair
Noah Ganeles, systems administrator
Ruth Cole, communication coordinator
DESIGN RESEARCH, WRITING AND CRITICISM
Molly Heintz, co-chair
Alice Twemlow, co-chair
Emily Weiner, assistant to the co-chairs
DIGITAL PHOTOGRAPHY
Katrin Eismann, chair
Tom P. Ashe, associate chair
Marko Kovacevic, studio manager
DIRECTING
Bob Giraldi, chair
Anelisa Garfunkel, director of operations
Megan Hessenthaler, systems support administrator
FASHION PHOTOGRAPHY
Stephen Frailey, co-chair
James Moffat, co-chair
Barry Sutton, director of operations
Tiffany Smith, systems support specialist
FINE ARTS
Mark Tribe, chair
JP Forrest, director of operations
Alison Kuo, assistant to the chair
Pamela Council, program coordinator
ILLUSTRATION AS VISUAL ESSAY
Marshall Arisman, chair
Kim Ablondi, director of operations
Ada Price, studio assistant
INTERACTION DESIGN
Liz Danzico, chair
Gwendolyn Kurtz, director of operations
Wolfgang Gil, senior systems administrator
Jason Rabie, communications and projects coordinator
Eric Forman, student advisor
PHOTOGRAPHY, VIDEO AND RELATED MEDIA
Charles H. Traub, chair
Randy West, director of operations
Brenda Hung, assistant to the chair
Adam Bell, academic advisor
Seth Lambert, senior systems administrator
Michelle Leftheris, systems administrator, network/video
PRODUCTS OF DESIGN
Allan Chochinov, chair
Gabrielle Kellner, director of operations
Alisha Wessler, program coordinator
Marko Manriquez, systems administrator
John Heida, director, Visible Futures Lab
Bronwen Densmore, manager, Visible Futures Lab
Boris Klompus, manager, systems support specialist,
Visible Futures Lab
Tak Cheung, prototype coordinator, Visible Futures Lab
Anne-Marie Lavigne, lab assistant, Visible Futures Lab
VISUAL NARRATIVE
Nathan Fox, chair
Joan McCabe, assistant to the chair
Lucea Spinelli, project coordinator
Panayiotis Terzis, Risograph technician
CONTINUING EDUCATION
Joseph Cipri, executive director
Akiko Takamori, associate director
Keren Moscovitch, assistant director, special programs
Sarah Grass, advisor
Georgette Maniatis, advisor
Nika Lopez, program coordinator
William Patterson, office assistant
SVA DESTINATIONS
Dora Riomayor, director
Michelle Mercurio, associate director
Library
Caitlin Kilgallen, director
Zimra Panitz, head of technical services
Beth Kleber, archivist, Milton Glaser Design Study Center
and Archives
Seth Chang, information technology administrator
Lorraine Gerety, visual resources curator
David Pemberton, periodicals/reference librarian
Phoebe Stein, digital services librarian
Deborah Tint, weekend/evening librarian
David Shuford, cataloger
Kelsey Short, administrative manager
Christopher Bussmann, circulation manager
Mark Roussel, evening circulation manager
Tessa Morefield, assistant visual resources curator
Eric Ingram, managing catalog technician
Keisha Wilkerson, catalog technician
Kelsey Gallager, administrative assistant
toll-free tel. 877.242.7200 :: 173
ADMINISTRATION
SOCIAL DOCUMENTARY FILM
Maro Chermayeff, chair
Charlotte Rose Vincelli, director of operations
Timothy Doyle, assistant to the chair
Kristian Gonzales, senior systems administrator
Continuing Education and Special Programs
Administrative Offices and Departments
ACADEMIC ADVISEMENT
A.-Lucky Checkley, director
Bibi Khan, administrative assistant
Rosa Paulino, receptionist
ACADEMIC AFFAIRS
Jeffrey Nesin, provost
Emily Ross, assistant provost
Jennifer Phillips, director of learning technology
Lani Mysak, assistant to the provost
Deborah Hussey, curriculum coordinator
Gloria Clowes, editorial associate
Daniel Johnson, editorial associate
Bradley Crumb, media production manager, learning technology
Julian Oddman, instructional designer, learning technology
Thomas Benton, technologist, learning technology
Walter Tyler, digital video specialist
ADMINISTRATIVE COMPUTING
Cosmin Tomescu, chief information officer
Maria Paulino, assistant to the chief information officer
ADMINISTRATIVE NETWORK SERVICES
Brian Nakahara, director of information technology
Frank Bonomo, manager
Ian Hill, network manager
Edward Duffy, senior technical support specialist
Fishel Erps, network engineer
Brandon Keeven, network engineer
Kenneth Luguya, enterprise systems engineer
Daniel Nepomnyashchy, senior systems engineer
Kevin Chan, Windows systems administrator
Gary Markelov, technical support specialist
Helen Jorgensen, switchboard operator
Juan Victoriano, assistant technical support specialist
ADMISSIONS
Javier Vega, executive director
Matthew Farina, director
Adam Rogers, director, international outreach
Jonathan Nutting, associate director
Quinn Dukes, assistant director, visitor services
Sophie Holland, manager, undergraduate admissions
Kate McWatters, manager, transfer admissions
Jessica Hull, assistant manager, graduate admissions
Ryan Thomas, assistant manager, undergraduate admissions
Christina Barrera, counselor
Megan Chin, counselor
Sarah Ordway, counselor
Roberto Jamora, counselor
Zachary Krall, counselor
Melinda Richardson, assistant to the executive director
Oleksandra Dosenko, coordinator, undergraduate admissions
Jennifer Lloyd, coordinator, undergraduate admissions
Adam Sarsfield, coordinator, undergraduate admissions
Michelle Rossman, coordinator, undergraduate admissions
Nicolas Smith, coordinator, graduate admissions
Valerie Diaz, coordinator, visitor services
Jenna Kass, receptionist
ALUMNI AFFAIRS AND DEVELOPMENT
Jane Nuzzo, director
Miranda Pierce, manager, development
Katherine Styer, manager, alumni affairs
Charles Snyder, coordinator
AUDIO VISUAL SERVICES
Robert Barton, manager
Peter Ross, assistant manager
Earl Barrett-Holloway, coordinator
Micah Welner, support specialist
Jim Gisriel, support technician
CAREER DEVELOPMENT
Angelia Wojak, director
Anna Ogier-Bloomer, assistant director
Patricia Romeu, assistant director
Roshni Sondhi, coordinator
COLLEAGUE COMPUTING SERVICES
Elena Vasilenko-Blank, director
Lena Granoff, senior programmer
Irina Filimonova, senior programmer/analyst
Patricia Ewan, systems analyst/programmer
Roman Stanula, systems/database administrator
COMMUNICATION
Jeffrey Perkins, director
Gregory Herbowy, assistant director
Kenneth Switzer, assistant director, digital content and social media
Folake Ologunja senior publicist
Derek Parsons coordinator
174 :: sva.edu / ce
DIGITAL IMAGING CENTER
Stephen Alvarado, manager
Joseph Jones, studio manager
Angel Ibanez, assistant studio manager
Gabriele Spear, assistant studio manager
Caitlin Beards, coordinator
Kalik D. Hamilton, coordinator
Alexandra Sullivan, systems administrator
Andrew Gaska, weekend supervisor
Philip Fehr, help desk support specialist
FINANCE
Gary Shillet, chief financial officer
Michael Campbell, controller
Dennis Mayer, assistant controller
Kevin Chea, assistant controller, budgeting and forecasting
Tianna Bogle, senior accountant
Jean Saint Juste, senior accountant
Mario Cosentino, accounting manager
Victor Davila, accounting manager
Wanda Reece, accounts payable manager
Kenneth Rodriguez, accounts payable supervisor
Margaret Herndon, accounts payable coordinator
Sharon Victory, accounts payable coordinator
Christopher Weatherstone, assistant to the chief financial officer
FINANCIAL AID
William Berrios, director
Jose Rodriguez, associate director, data management
Anthony Thompson, associate director, operations
Jose Caldera, loan coordinator
Wai Nei Kwan, advisor
Lillian Liang, advisor
Ramona Moore, advisor
Lisandra Quiles, advisor
Patricia Melendez, office manager
Frank Quirindongo, office assistant
Matthew Smith, receptionist
HUMAN RESOURCES
Frank Agosta, executive director
Vennette Jones, director
Cindy Robles, associate director of payroll
Petronella Morrison, payroll manager
Nicole Buzzelli, employment manager
Julissa Knight, payroll supervisor
Nicole Wendorff, benefits supervisor
Aleeya Greene, payroll coordinator
Mairead Reardon, benefits coordinator
Chrystal LaQua, coordinator
PHYSICAL PLANT
Richard Riccio, executive director
Carlos Garces, assistant director
Janet Leon, building engineer
John DeLuca, director of facilities, operations and environmental
health and safety
Violet Sanchez, capital projects coordinator
Kelly Connolly, administrative assistant
PROGRAMS FOR INTERNATIONAL STUDENTS
Andrew Chang, director
Sarah Richardson, assistant director
REGISTRAR
Jason Koth, registrar
Celeste Barnes, associate registrar
Karla Fisher, assistant registrar
Bernard Gibson, assistant registrar, operations
Gemma Prosper-Brown, assistant registrar, academic records;
veterans’ counselor
Angelo Angeles, assistant
Steve Birnbaum, assistant, roster coordinator
Mary Duffy, assistant
Kimberli Jervey, assistant, data manager
Yvonne Singletary, academic records, archivist
RESOURCE MANAGEMENT
Christopher Gutierrez, director
James Cavaliere, associate director
Jason Gallegos, administrative assistant
Lisa Brown, buyer
Marcos Polonia, buyer
Raymar Mitchell, manager, office services and mail processing
Deirdre Suter, assistant manager, office services and mail processing
Andre Charles, supervisor, office services and mail processing
Gary Jean-Pierre, assistant coordinator, office services and
mail processing
Usa Yamaguchi, assistant buyer
Morgan Zipf-Meister, model registrar
Bobby Duran, assistant, office services and mail processing
Charles Davis, assistant, office services and mail processing
Dennis Gillyard, assistant, office services and mail processing
Destiny Lilly, casting/talent coordinator
Kerry Crowe, assistant to the model registrar
Alexander McRae, assistant, office services and mail processing
Collin Murphy, assistant, office services and mail processing
Kevin Brandon Smith, assistant, office services and mail processing
INSTITUTIONAL RESEARCH
Jerold Davis, director
toll-free tel. 877.242.7200 :: 175
ADMINISTRATION
EXTERNAL RELATIONS
Sam Modenstein, executive director
Dan Halm, project manager
INTERNATIONAL STUDENT OFFICE
Kaori Uchisaka, director
Tony (Hsien-Wen) Wang, associate director
Yoko Anderson, advisor
Angelique Cordero, advisor
Ragina Degnan, advisor
SECURITY SERVICES
Nick Agjmurati, director
Tyrone Benton, associate director
Debbie Cunningham, manager
Carlos Daley, supervisor
Antonio Gutierrez, supervisor
Joseph Soohoo, supervisor
Christian Morales, supervisor
Isat Paljevic, manager
Latanya Grier, administrative assistant
STUDENT ACCOUNTS
Geanine Rando, director
Rebecca Fowler, associate director
Mary Graham, continuing education receivables manager
Jennyfer Edwards, loan receivables coordinator
Maria Losada, customer service representative
Kelvin Morales, administrative assistant
STUDENT AFFAIRS
Javier Vega, executive director
Bill Martino, director
Maria Rovira-McCune, associate director
Edward Rabinowitz, MD, college psychiatrist
Christine Gilchrist, RN, associate director, health
and counseling services
Mark Howell, LCSW, therapist
Stella Kim, LMHC, therapist
Navah Steiner, LCAT, therapist
Jennifer Wilson, LCAT, therapist
Laurel Christy, associate director, residence life
Caryn Leonard-Wilde, associate director, disability services
Jill Seplowitz, manager, student activities
Oliver Colbert, coordinator, student engagement and leadership
Adam Krumm, coordinator, residence life
Matthew Lee, coordinator, health and counseling services
Daniele Stokes, coordinator, disability services
Corey Allen, residence hall director
Kristen Jassin, residence hall director
Stefaine Joshua, residence hall director
Cullen Rude, residence hall director
Diego Guanzon, receptionist
176 :: sva.edu / ce
SVA CAMPUS STORE
Kate Schaffer, director
Jennifer Sturtz, operations manager
Jonathan Flaxman, buyer
Alex Hazel, senior technical support sales representative
Grant Lindal, inventory coordinator
Ian Stoner, e-commerce inventory coordinator
Bennett Yee, store manager
Eugene Hill, customer service associate
SVA GALLERIES
Francis Di Tommaso, director
Jamie Keesling, operations manager
Tyson Skross, exhibitions manager
Carl Auge, exhibitions coordinator
Robert Campbell, exhibitions coordinator
Marysia Gacek, operations coordinator
SVA THEATRE
Adam Natale, director
Vidya Alexander, operations manager
Vincent Burich, technical manager
Jessica Jackson, business manager
Joseph Quartararo, assistant technical manager
Jonathan Wendt, assistant technical manager
VISUAL ARTS PRESS, LTD.
Anthony P. Rhodes, creative director
Gail Anderson, director of design and digital media
Dee Ito, writer
Brian E. Smith, art director
Jennifer Liang, assistant director
Eric Corriel, lead website designer and developer
Abimbola Famuyiwa, senior multimedia/web designer
Declan Van Welie, website designer and developer
Ryan Durinick, senior designer
Sheilah Ledwidge, editor
faculty
The professionals who teach at the School of Visual Arts do so because they have something to share.
Representing many arts and industries, our faculty bring an array of successful professional experiences to the College. More
importantly, they bring their individuality and their insight into the tough and exhilarating process of becoming an artist.
At SVA we are justly proud of a faculty that has made a significant impact on our culture; a faculty that students elsewhere read
about in professional art publications. We are prouder still of our faculty’s commitment to teaching and to our students. The
faculty of SVA encourage their students to create work of excellence—work that will influence and help shape the
vision of decades to come.
BRIEF BIOGRAPHICAL INFORMATION IS LISTED WITH EACH COURSE DESCRIPTION
FACULTY
A
29 Martin Abrahams, ANC-1022-A
33
ANC-3276-CE
151AND-3276-CE
146 Barbara Adams, VCC-2243-A
145VSC-2271-A
130 Bina Altera, PHC-1042-CE
155PHD-1042-CE
134 Brian Appel, CFC-2004-A
8
Ralph Appelbaum, PHC-2432-A
49 Sharon Fleischmann Aquavita, SMC-2426-A
49 SMC-2428-A
50 SWC-2426-A
49 SWC-3437-A
68 Jim Arnoff, CFC-1334-A
131 Tom P. Ashe, PHC-1023-A
137 E. Adam Attia, PHC-2642-A
72 Simona Migliotti Auerbach, CFC-1082-A
117ILC-2548-A
147 Carl Auge, VSC-2604-A
B
136 Algis Balsys, PHC-2426-A
146 Itziar Barrio, VCC-2243-A
145VSC-2271-A
33 Thomas Bayne, ANC-3276-CE
151AND-3276-CE
44 Carrie Beene, SWC-2331-A
44SWC-2334-A
42 Mary J. Belthoff, SMC-1031-A
44
SMC-2231-A
45SMC-3231-A
24 Gregg Benedikt, ADC-2030-C
58 Robert Best, DSC-2034-A
61DSC-2156-A
44 Benjamin Bobkoff, SWC-2229-A
44SWC-2231-A
44SWC-2231-B
46
SWC-2274-A
45SWC-3231-A
45SWC-3231-B
59 Kevin Brainard, DSC-2053-A
105 Elaine Breiger, FIC-2858-A
119 Steve Brodner, ILC-3833-A
14OLC-2208-A
58 Ed Brodsky, DSC-2021-A
30 Jeff Buckland, ANC-1029-A
146 Haley Bueschlen, VSC-2716-A
25 Mark Simon Burk, ADC-2030-D
116 Stephen Byram, ILC-3422-A
C
75 Lance Cain, CVC-3052-B
134 Mario Calafatello, PHC-2408-CE
155PHD-2408-CE
89 Andrew Castrucci, FIC-2254-A
75 Pat Carpenter, CVC-3052-A
15 Kat Chamberlin, OLC-2922-A
53 Aleksey Cheparev, SMC-2213-B
54
SMC-3213-A
62 Tak Cheung, VLC-2568-A
63 VLC-2569-A
72 Jenai Chin, CFC-2239-A
97 Sung Jin Choi, FIC-3458-A
111 Joo Chung, ILC-2012-A
24 John Clement, ADC-2030-B
145 Ofri Cnanni, AHC-2388-A
50 Nate Cooper, SDC-2825-A
48SMC-3332-A
50SMC-2432-A
47SWC-2421-A
50SWC-2431-A
48SWC-3332-A
49SWC-3333-A
47SWC-3427-A
47SWC-3428-A
148 Grayson Cox, VSC-2749-A
25 Steve Cranford, ADC-2413-A
19PDC-3499-A
104 Christopher T. Creyts, FIC-2837-A
124 Patrick Crotty, VNC-2362-A
toll-free tel. 877.242.7200 :: 177
D
112 Nelson Faro DeCastro, ILC-2119-A
112 ILC-2129-A
24 Rich Degni, ADC-2030-C
148 Paul D'Innocenzo, VSC-2434-A
99 Joseph DeGiorgis, FIC-2612-A
99
FIC-2612-B
100FIC-2614-A
100FIC-2614-B
100FIC-2616-A
100FIC-2616-B
134 Len DeLessio, PHC-2362-A
60 Yelena B. Deyneko, DSC-2237-A
74 Kamil Dobrowlski, CVC-2551-A
74
CVC-2561-A
75CFC-3561-A
133 Jade Doskow, PHC-2012-A
133PHC-2017-A
134PHC-2017-B
139PHC-3841-A
131 Maureen Drennan, PHC-2042-CE
155PHD-2042-CE
15 Seán Duggan, OLC-2314-A
143 Devi Dumbadze, VCC-2643-A
143VCC-2651-A
136 Magali Duzant, PHC-2741-A
E
53 Carl Edwards, SMC-2213-A
117 Tristan Elwell, ILC-2448-A
130 Lisa Elmaleh, PHC-1231-A
86 Elise Engler, FIC-2152-A
86
FIC-2156-A
F
105 Dikko Faust, FIC-2867-A
106FIC-2873-A
106FIC-2882-A
90 Peter Fiore, FIC-2284-A
117 Emily Flake, CIC-3114-A
138 Michael Brian Foley, PHC-3723-A
42 Tina Fong, SMC-2208-A
43SMC-2209-A
39SWC-1012-A
42SWC-2221-A
43SWC-2221-B
45SWC-2271-B
43SWC-2526-B
89 Seth Michael Forman, FIC-2243-A
89FIC-2249-A
86
FIC-2551-A
178 :: sva.edu / ce
G
31 Stephen Gaffney, ANC-2060-A
31ANC-2062-A
113ILC-2022-A
118 Felipe Galindo, ILC-2732-A
70 Dejan Georgevich, CFC-1004-A
24 Dan Giachetti, ADC-2030-B
94 Andrew Ginzel, FIC-2422-A
61 Rachel Gogel, DSC-3561-A
75 Paul Goodrich, CVC-3157-A
29 Frank Gresham, ANC-1024-A
59 Adam Greiss, DSC-2050-CE
152DSD-2050-CE
32 James Grimaldi, ANC-2137-A
H
41 Richard A. Hagen, SDC-1023-A
54
SMC-2212-A
54
SMC-3216-A
40SWC-1013-A
40SWC-1016-A
46 Daniel Hahn, SMC-2422-A
46
SMC-2429-A
84 Susan Hambleton, FIC-2104-A
76 Denis Hamill, CFC-2741-A
79 Steve Harris, CFC-3014-A
80
CFC-4014-A
47 Eric Haseltine, SMC-2527-A
47
SMC-2528-A
47
SWC-3442-A
85 Shelley Haven, FIC-2144-A
53 John Thomas Heida, VLC-2551-A
53
VLC-2551-B
32 Aurelio Voltaire Hernandez, ANC-3020-CE
151AND-3020-CE
59 Jason J. Heuer, DSC-2056-A
64
DSC-4016-A
72 Larry J. Hillier, CFC-1529-A
108 Lori Hollander, CAC-1011-A
108CAC-1012-A
83 Peter Hristoff, FIC-1126-A
83
FIC-1127-A
85
FIC-2113-A
39 Susie Hwang, SWC-1012-B
I
99Shirley Irons, FIC-2206-A
91FIC-2548-A
J
23 Paul Jervis, ADC-2030-CE
151ADD-2030-CE
123 Paul John, VNC-1577-A
124VNC-2176-A
L
76 George LaVoo, CFC-2843-A
14 Michelle Leftheris, OLC-1411-A
48 Marissa Lerer, SWC-3331-A
145 Annette R. Lieberman, VCC-2156-A
73 Vincent LoBrutto, CFC-2017-A
42 Lisa Lordi, SMC-1031-CE
45SMC-2271-A
152SMD-1031-CE
45SWC-2271-A
45SWC-2271-C
M
144 Jess Mackta, VCC-2373-A
127 Stuart Mager, IDC-1132-A
68 Matt Manjourides, CFC-1067-A
84 Judy Mannarino, FIC-1134-A
87FIC-1221-A
114 Ruth Marten, ILC-2124-A
127 Elizabeth Martin, IDC-2382-A
127IDC-2382-B
113 Stanley Martucci, ILC-2739-A
88 Marvin Mattelson, FIC-2221-CE
88
FIC-2221-CE1
154FID-2221-CE
154FID-2221-CE1
42 Christopher McCormack, SMC-2221-A
43 SMC-3221-A
43 SWC-2526-A
43 SWC-3221-A
43 SWC-3221-B
N
25
101
61
138
91
Robert Naud, ADC-2164-A
Luis Rodrigo Navarro, FIC-2687-A
Jon Newman, DSC-3031-A
Barbara Nitke, PHC-2189-A
Ryan Kathleen Norton, FIC-3518-A
O
74
68
Andrea Odezynska, CVC-2551-B
Sal Oppedisano, CFC-2072-A
toll-free tel. 877.242.7200 :: 179
FACULTY
K
130 Dina Kantor, PHC-1019-A
135PHC-2674-A
132PHC-3302-A
13 Peter Kaplan, OLC-2051-A
147 Alexis Karl, VSC-2144-A
23 Steve Kashtan, ADC-2030-A
129 Michael Katchen, PHC-1003-A
135 Janusz Kawa, PHC-2419-A
144 Jamie Keesling, VHC-2431-A
61 Ben King, DSC-3043-A
41 Boris Klompus, VLC-2572-A
41
VLC-2572-B
119 Viktor Koen, ILC-3827-A
48 Ariele Krantzow, SWC-3322-A
40 Matthew McKenna, SDC-1016-A
40 SDC-1016-B
40SWC-1012C
40 SWC-1016-A
40 SWC-1028-A
57 Richard Mehl, DSC-1014-A
57 DSC-1016-A
13 OLC-1018-A
30 David Meslin, ANC-2259-A
87 Melissa Meyer, FIC-1223-CE
153FID-1223-CE
52 Adam Meyers, SMC-3621-A
52 SMC-3621-B
53 SMC-3654-A
52SWC-3621-A
52 SWC-3651-A
78 Mihaela Mihut, CFC-1076-A
78CFC-2833-A
19 Gabriela Mirensky, PDC-2526-A
100 Aimee Morgana, FIC-2522-A
125 Stacy Renee Morrison, VNC-2347-A
16 Keren Moscovitch, OLC-2614-A
137 PHC-3017-A
139PHC-3264-A
111 Tom Motley, CIC-2011-A
115CIC-2218-A
112ILC-2114-A
52 Joseph Mulvanerty, SDC-1210-A
41
SWC-1025-A
97 James Murphy, FIC-2463-A
P
73 Carl Philip Paolino, CFC-2243-A
98
FIC-2436-A
104 Nick Paparone, FIC-2874-A
88 John Parks, FIC-2237-A
88FIC-2237-B
114ILC-2334-A
114 Melanie Marder Parks, ILC-2756-A
33 Albert M. Pardo, ANC-3181-A
97 Joseph P. Pastor, FIC-2467-A
23 Richard Pels, ADC-2030-CE
151ADD-2030-CE
70 Salvatore Petrosino, CFC-1003-A
106 Carlos Pisco, FIC-2878-A
107FIC-2879-A
107FiC-2886-A
90 Denis Ponsot, FIC-2264-A
116 Carl Potts, CIC-2239-A
118CIC-2773-A
119CIC-3312-A
30 Donald Poynter, ANC-2056-A
102 Gunars Prande, FIC-2812-A
103FIC-2817-A
R
139 Naomi Elena Ramirez, PHC-2652-A
102 Dominick Rapone, FIC-2806-A
103FIC-2812-C
104FID-2841-A
78 Audrey Rapoport, CFC-2276-A
26 John Rea, ADC-3681-A
52 Eric Reinfeld, SMC-3631-A
70 Frederick Rendina, CFC-3027-A
71CFC-3028-A
23 Lisa Rettig-Falcone, ADC-2030-A
76 Gary Richards, CFC-2136-A
91 Ira Richer, FIC-3211-CE
154FID-3211-CE
69 Sherese Robinson, CFC-2257-A
76CFC-2443-A
62 Roswitha A. Rodrigues, DSC-3533-CE
64DSC-4010-CE
152DSD-3533-CE
153DSD-4010-CE
100 Federico Muelas Romero, FIC-2642-A
30 Christine Roepken, ANC-1027-A
112 Matt Rota, ILC-2149-A
138 Thorsten Roth, PHC-3094-A
15 Radcliff "Ruddy" Roye, OLC-2321-A
60 John Ruggeri, DSC-2060-CE
152DSD-2060-CE
115ILC-1033-A
115ILC-2184-A
180 :: sva.edu / ce
S
17 Mark Sable, OLC-2619-A
20 José Angel Santana, PDC-3477-A
109 Ruth Santana, CAC-1021-A
120 Elizabeth Sayles, ILC-4011-A
78 Richard Scanlon, DTC-2451-A
95 Barbara Segal, FIC-2426-A
137 Richard Schulman, PHC-2153-A
73 Rob Sciarratta, CFC-1253-A
118 Grant Shaffer, ILC-3596-A
87 Maura Sheehan, FIC-1226-CE
153 FID-1226-CE
103 Donald M. Sheridan, FIC-2812-D
103FIC-2812-E
129 Joseph Sinnott, PHC-1040-A
133PHC-2146-A
133PHC-2152-A
79 Valerie Smaldone, CFC-1443-A
79
CFC-1476-A
105 Judith Solodkin, FIC-2844-A
101FIC-3621-A
69 Sofia Sondervan, DTC-2373-A
136 Jeanette Spicer, PHC-2741-A
127 Richard Spokowski, IDC-2123-A
127IDC-1019-A
60 John Sposato, DSC-2064-A
70 Todd Stephens, CFC-2040-A
147 Jovanna Stokic, VSC-2604-A
51 Robert Stribley, SDC-2827-A
51
SDC-2827-B
51
SDC-2829-A
59 Ilene Strizver, DSC-2058-A
144 Sharon M. Suchma, AHC-2423-A
71 Igor Sunara, CFC-3034-A
71
CFC-3036-A
72
CFC-3037-A
94 Yuko Suzuki, FIC-2408-A
T
V
17
84
84
85
104
139
62
69
FACULTY
25 Matt Tarulli, ADC-3078-A
20 Jennifer Tedesco, PDC-1026-A
123 Panayiotis Terzis, VNC-2239-A
109 Victoria Tillotson, CAC-1022-A
109CAC-1022-B
109CAC-1022-C
115 Seth Tobocman, CIC-2237-A
94 Nicolas Touron, FIC-1430-CE
94FIC-2417-A
154FID-1430-CE
95 Marsha Trattner, FIC-2434-A
96FIC-2438-A
96
FIC-2441-A
96
FIC-2441-B
97
FIC-2452-A
97
FIC-2452-B
16 Lorenzo Triburgo, OLC-2334-A
Ed Valentine, OLC-2623-A
Anton van Dalen, FIC-1131-A
Alphonse van Woerkom, FIC-2137-A
FIC-3137-A
Sara Varon, FIC-2824-A
Art Vidrine, PHC-3518-A
Ricardo Villavicencio, DSC-3227-A
Frank Vitale, CFC-2133-A
W
105 Bruce Waldman, FIC-2864-A
62 Sue Walsh, DSC-3203-A
124 Ryan Weber, VNC-2341-A
26 Efrat Weidberg, ADC-3681-A
146 Emily Weiner, VSC-2237-CE
156VSD-2237-CE
116 Monica Wellington, ILC-2563-A
58 Melanie Wiesenthal, DSC-2029-A
147 Hollis Witherspoon, VSC-2723-A
148VSC-2749-A
14 Caroline Woolard, OLC-2743-A
106 Larry B. Wright, FIC-2876-A
Y
103 Charles Yoder, FIC-2814-A
90 Frank Young, FIC-2276-A
Z
60
Anita Zeppetelli, DSC-2243-A
toll-free tel. 877.242.7200 :: 181
map of buildings
W 44 ST.
W 43 ST.
CHRYSLER BLDG
W 42 ST.
GRAND CENTRAL STATION
W 41 ST.
BRYANT PARK
W 39 ST.
E 39 ST.
W 38 ST.
E 38 ST.
W 37 ST.
E 37 ST.
W 36 ST.
E 36 ST.
W 35 ST.
E 35 ST.
W 32 ST.
E 32 ST.
1, 2
3
W 23 ST.
W 22 ST.
W 21 ST.
W 20 ST.
8
W 19 ST.
W 18 ST.
14
E 17 ST.
W 16 ST.
E 16 ST.
W 15 ST.
E 21 ST.
E 20 ST.
E 15 ST.
STUYVESANT
SQUARE
W 14 ST.
E 14 ST.
W 13 ST.
E 13 ST.
W 12 ST.
E 12 ST.
W 11 ST.
E 11 ST.
W 10 ST.
E 10 ST.
WASHINGTON SQUARE
FIRST AVE.
4, 5
E 18 ST.
UNION SQ
E 9 ST.
ST. MARKS PLACE
OR
AST CE
PLA
E 6 ST.
E 5 ST.
E 4 ST.
E 3 ST.
ERY
E 2 ST.
E 1 ST.
.
HOUSTON ST
9
EY
DELANC
M
182 :: sva.edu / ce
BRO
TOMPKINS
SQUARE
E 7 ST.
B OW
205/207/209 East 23rd Street
380 Second Avenue
310 East 22nd Street
214 East 21st Street
340 East 24th Street
17 Gramercy Park South
101 Ludlow Street
133/141 West 21st Street
136 West 21st Street
132 West 21st Street
333 West 23rd Street
335 West 16th Street
601 West 26th Street
7
E 23 ST.
E 19 ST.
W 17 ST.
W 9 ST.
W 8 ST.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
6
GRAMERCY PARK
LAFAYETTE ST.
10
11, 12
E 26 ST.
ST.
13
E 27 ST.
E 25 ST.
MADISON SQ PARK
W 24 ST.
E 28 ST.
LUDLOW
W 25 ST.
E 29 ST.
T.
ALLEN S
W 26 ST.
E 30 ST.
SECOND AVE.
W 27 ST.
FIFTH AVE.
W 28 ST.
E 31 ST.
THIRD AVE.
W 29 ST.
SIXTH AVE.
SEVENTH AVE.
EIGHTH AVE.
NINTH AVE.
TENTH AVE.
W 30 ST.
LEXINGTON AVE.
W 31 ST.
AY
DW
15
E 33 ST.
OA
TWELFTH AVE.
MADISON SQ GARDEN/
PENN STATION
E 34 ST.
EMPIRE STATE BLDG
W 33 ST.
BR
ELEVENTH AVE.
W 34 ST.
PARK AVE.
JAVITS CENTER
W 40 ST.
MADISON AVE.
PORT AUTHORITY BUS TERMINAL
OKL
YN
AN
URG
WILLIAMSB
BRIDGE
ST.
HA
TT
AN
BR
ID
GE
directory
1 205 East 23rd Street
Registrar, 1st floor
SVA Campus Store, 1st floor
23rd Street Residence
VASA Student Center, 1st floor
Office of the Chairman of the Board, 6th floor
Visual Arts Press, Ltd., 3rd floor
4 380 Second Avenue
Animation Studios (BFA), 5th floor
Design (MFA), 5th floor
Finance, 8th floor
Human Resources, 8th floor
Humanities and Sciences, 8th floor
Library, 2nd floor
5 310 East 22nd Street
Illustration Studios, 7th floor
6 214 East 21st Street
Fashion Photography (MPS), 3rd floor
Photography and Video (BFA), 4th, 5th, 6th floors
Photography (MFA), 1st, 4th, 5th floors
President, 7th floor
Student Lounge, 7th floor
7 340 East 24th Street
24th Street Residence
Health Services, 1st floor
International Student Office, 1st floor
Program for International Students, 1st floor
Residence Life, 1st floor
Student Affairs, 1st floor
Visual Arts Student Association (VASA), 1st floor
8 17 Gramercy Park South
Gramercy Women’s Residence
10 133/141 West 21st Street
Academic Affairs, 5th floor
Art History, 4th floor
Computer Art (MFA), 10th, 12th floors
Computer Art (BFA), 2nd, 3rd floors
Coordinator of Academic Advisement, 7th floor
Critical Theory and the Arts (MA), 6th floor
Environmental Health and Safety, 12th floor
Fine Arts (MFA), 8th, 9th floors
Institutional Research, 5th floor
Interior Design (BFA), 11th floor
Printmaking Facilities, 5th floor
Provost, 5th floor
Student Lounge, lower level
SVA Destinations, 7th floor
SVA Flatiron Gallery, 1st floor
Visual and Critical Studies (BFA), 4th floor
11 136 West 21st Street
Administrative Network Services, 8th floor
Alumni Affairs, 6th floor
Career Development, 6th floor
Communication, 6th floor
Design for Social Innovation (MFA), 5th floor
Design Research, Writing and Criticism (MA), 2nd floor
External Relations, 6th floor
Illustration as Visual Essay (MFA), 12th floor
Interaction Design (MFA), 3rd floor
Management Information Technologies, 8th floor
Products of Design (MFA), 7th floor
Social Documentary Film (MFA), 1st floor
Visual Narrative (MFA), 11th floor
Office of Learning Technologies, 9th floor
12 132 West 21st Street
Art Writing (MFA), 6th floor
Art Education (MAT), 4th floor
Art Therapy (MPS), 3rd floor
Art Therapy Outreach Program (ATOC), 6th floor
Branding (MPS), 11th floor
Curatorial Practice (MA), 10th floor
Digital Photography (MPS), 2nd floor
Directing (MPS), 8th floor
Model Registrar, 2nd floor
Visible Futures Lab, 7th floor
Writing Resource Center, 9th floor
13 333 West 23rd Street
SVA Theatre
14 335 West 16th Street
Art Practice (MFA), 5th floor
Fine Arts (BFA), 2nd, 3rd, 4th, 5th floors
Fine Arts Sculpture, 1st floor, lower level
15 601 West 26th Street
Student Galleries Office, 15th floor
SVA Chelsea Gallery, 15th floor
toll-free tel. 877.242.7200 :: 183
DIRECTORY
Admissions, 1st floor
Advertising (BFA), 2nd floor
Animation (BFA), 5th floor
Continuing Education, 1st floor
Design (BFA), 2nd floor
Digital Imaging Center, 5th, 6th floors
Executive Vice President, 1st floor
Facilities Management, lower level
Film (BFA), 5th floor
Financial Aid, 1st floor
Illustration and Cartooning (BFA), 2nd floor
Security Management, lower level
Student Accounts, 2nd floor
Student Lounge, 2nd floor
SVA Gramercy Gallery, 1st floor
9 101 Ludlow Street
Ludlow Residence
209 East 23rd Street, New York, NY 10010-3994
Tel 212.592.2050 Fax 212.592.2060
sva.edu/ce
Periodicals Postage Paid at New York, NY
LOOKING TO START OR FINISH YOUR BACHELOR’S DEGREE?
The Division of Continuing Education offers a degree program in
Design, as well as credit courses in several disciplines, all with a
flexible schedule of courses to meet your needs. Part-time study
is available. Transfer credit is accepted. Please visit our website at
sva.edu/ce for further information.

Continuing Education Bulletin

Transcription

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